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THE  ARCHITECTURAL  RECORD. 


ST..  PAUL  BUILDING,  . . 

STANDARD  OIL  BUILDING, 
HARTFORD  FIRE  INS.  BUILDING, 
NEW  YORK  LIFE  BUILDING, 
SEIGEL-COOPER  BUILDING,  . 


Geo.  B.  Post,  Architect 
Kimball  & Thompson,  Architects 
Cady,  Berg  & See,  Architects 
McKim,  Mead  & White,  Architects 
. DeLemos  & Cordes,  Architects 


CENTRAL  

FIREPROOFING  CO. 

HENRY  M.  KEASBEY,  Presides, 

HOLLOW  TILE  AND 
POROUS  TERRA-COTTA 


874  BROADWAY,  Omm  J8th  Street, 

NEW  YORK. 


CENTRAL  NATIONAL  BANK  BUILDING,  J.  T.  Williams,  Architect 
SPINGLER  BUILDING,  . . W.  H.  Hume  & Son,  Architects 

GILLENDER  BUILDING,  . . . Berg  & Clark,  Architects 

COLUMBIA  COLLEGE  BUILDINGS,  McKim,  Mead  & White,  Architects 
NEW  YORK  ATHLETIC  CLUB,  . W.  A.  Cable,  Architect 


THE  ARCHITECTURAL  RECORD. 


STRUCTURAL  AND  DECORATIVE 


PRESERVATIVE  COATINGS 


For  Exteriors, 

SPAR  COATING, 
SPAR  UNDER  COAT, 
ELASTIC  OUTSIDE. 


For  Interiors, 

IXL  No.  1, 

IX L No.  1 y2, 
IXL  No.  2, 
FLOOR  FINISH. 


DURABLE  METAL  COATING. 


-r  EDWARD  SMITH  & CO. 

Varnish  Makers  and  Color  Grinders, 


45  BROADWAY,  = - = NEW  YORK. 


i 


THE  ARCHITECTURAL  RECORD. 


GILL1S  & GEOGHEGAN, 

Nos.  537-539  West  Broadway, 

Above  Bleecker  Street.  EW  YORK 

HEATING  PLANTS 


ERECTED  IN  ANY  PART  OF  THE  COUNTRY  FOR  HEATING 
HOTELS,  HOSPITALS,  PUBLIC  AND  PRIVATE  BUILDINGS. 


^PECIMENS  of  our  work  may  be  seen  in  hundreds  of  buildings  in  all  parts  of  the 
country,  including  “ The  Empire,”  Trinity  Place  and  Broadway,  twenty  stories  ; 
The  “ Manhattan  Life  Insurance  Company,”  64-68  Broadway,  eighteen  stories,  and 
“ B.  Altman  & Co.’s  Dry  Goods  Store,”  iSth  Street  and  Sixth  Avenue. 

We  also  refer  to  the  heating  and  ventilating  of  the  ‘‘Astoria  Hotel,”  Corner  34th 
Street  and  5th  Avenue,  erected  by  us  after  plans  by  Alfred  R.  Wolff,  it  being  the 
largest  and  most  costly  plant  ever  installed  in  any  building  in  the  world  ; 
The  Broadway  Theatre  (fan  blower  system) ; St.  Joseph’s  Plospital,  Mott  Haven(pure 
warmed  air  system)  ; Presbyterian  Hospital,  71st  Street  and  Madison  Avenue,  and  the 
New  York  Hospital  House  of  Relief,  Comer  Hudson  and  [Jay  Streets  (fan  blower 
systems),  both  claimed  to  he  the  best  heated  and  ventilated  hospitals  in  existence. 


THE  ARCHITECTURAL  RECORD. 


THE  RESIDENCE  OF  ELBRIDGE  T.  GERRY,  ESQ. 

5th  Avenue  and  61st  Street,  New  York  City.  Richard  Morris  Hunt,  Architect. 


COLDEST  WEATHER  ON  RECORD 

February  8th  to  14th,  1899. 

Temperature  from  One  to  Six  Degrees  Below  Zero. 


Note  wliat  Ex-Commodore  ELBRIDGE  T.  GERRY  says  regarding  the  heating  of  his  residence, 
2 East  61st  Street,  (Central  Park  East,)  with  Hot  Air  Furnaces  : 


1895 

New  York,  March  14,  1895. 
RICHARDSON  & BOYNTON  CO., 

Gentlemen  I wish  to  express  my  great  satisfac- 
tion with  your  admirable  system  oi  Perfect  warm 
air  fnrnaces  recently  placed  in  my  house.  No.  2 
East  61st  Street,  in  this  city.  They  possess  the  ad- 
vantage. as  to  the  character  of  the  warm  air,  that  it 
is  neither  the  disgusting  steam  heat  which  drie< 
up  the  skin  and  affects  the  head  nor,  on  the  other 
hand,  is  it  the  almost  equally  dry  hot  water  heat,  as 
it  is  called ; but  during  the  entire  cold  weather 
of  the  late  winter,  even  during  the  blizzard,  my 
house  has  been  thoroughly  heated.  The  heat  is 
uniform  and  the  ventilation  perfect. 

Very  truly  yours 

EDBRIDGE  T.  GERRY. 


1899 

New  York,  February  20,  1899. 
RICHARDSON  & BOYNTON  CO., 

Gentlemen  it  gives  me  great  pleasure  to  say  that 

during  the  recent  blizzard  the  furnaces  which  you 
placed  in  No.  2 East  61st  Street,  worked  absolutely 
to  perfection.  At  no  time  was  there  any  difficulty 
in  obtaining  the  requisite  heat  in  order  to  render 
the  house  comfortable,  while  at  the  same  time  it 
was  not  so  overheated  as  to  become  unpleasant.  I 
regard  them  as  a great  success,  and  infinitely  pre- 
ferable to  the  modern  system  of  heating  by  steam, 
or  by  the  other  system  known  as  hot  water  pipe 
radiation. 

Very  truly  yours, 

ELBRIDGE  T.  GERRY. 


Richardson  & Boynton  Co. 

MANUFACTURERS 

“ Perfect  ” Hot  Air  Furnaces,  Ranges  and  Heaters 

232  & 234  WATER  STREET 


CHICAGO 


NEW  YORK 
3 


BOSTON 


THE  ARCHITECTURAL  RECORD. 


CHATEAU  FRONTENAC,  QUEBEC,  CANADA  Bruce  Price,  Architect 

A HIGH  GRADE  HOTEL 

SHOULD  HAVE... 

HIGH  GRADED 
LAUNDRY  APPLIANCES 


These  are  just  what  we  furnish.  From  long  experience  we  know 
instantly  what  you  want.  We  carry  a large  stock  and  ship  promptly. 
In  setting  machinery  we  use  the  best  materials  and  do  work  that 
architects  accept.  The  plants  always  “work,”  and  the  results  delight 
proprietors.  Snow  white  linen  beautifully  finished  This  is  the  result 
attained  with 


TROY  LAUNDRY  MACHINERY 


Troy  Laundry  Machinery  Co.,  Limited 

Complete  Outfits  for  Hotels  and  Institutions 


FACTORIES  : Troy  and  Chicago 
SALESROOMS  : 


New  York  City  and 

San  Francisco 


4 


THE  ARCHITECTURAL  RECORD. 


The  Philadelphia  & Reading  Terminal  Railroad  Station,  Philadelphia 
Painted  with  Dixon’s  Silica  Graphite  Paint. 


©0[L[](M 

(StMPDflOTn 


Nearest  to  an  ideal  paint  for  protective  purposes 
that  has  ever  been  made. 


Roofs  and  iron  work  well  painted  with  Dixon’s  Silica-Graphite  Paint  have 
not  required  repainting  for  ten  or  fifteen  years. 


Should  be  used  in  the  construction  work  of  all 
Iron  or  Steel  Buildings,  Bridges,  etc. 


JOSEPH  DIXON  CRUCIBLE  COMPANY, 

JERSEY  CITY,  N.  J. 


N.  B. — Architects  and  Draftsmen  who  are  not  familiar  with  Dixon’s  219j^  Pencil  should 
send  for  a sample.  For  fine  line  work  it  is  without  an  equal.  Sent  free  when  business  card 
is  sent  us. 


THE  ARCHITECTURAL  RECORD. 


TELEPHONE  CALL 
1515  CORTLANDT. 


BuJfa’oOtnceCT 


Estimates  Furnished  and 
Contracts  Executed. 


Headquarters  for  Hair  Felt.  Mineral  Wool. 
Asbestos  Papers  Brine  Pipe  Coverings,  etc 


K.  & M.  MAGNESIA  COVERING 

is  composed  of  85  per  cent,  of  pure  Carbonate  of  Magnesium 
and  asbestos  fibre  as  a bond.  It  is  the  only  genuine  magnesia 
covering  on  the  market,  as  it  is  the  only  covering  made  of 
Magnesia.  There  are  many  imitations,  so-called  magnesia 
coverings  ; these  are  composed  almost  entirely  of  sulphate  of 
lime  (Plaster  of  Paris).  Magnesium  Carbonate  is  the  most 
efficient  mineral  non-conductor  of  heat,  and  is  about  30  per 
cent,  more  effective  than  Plaster  of  Paris. 

To  prevent  fraudulent  substitutions  by  contractors  who 
are  in  some  cases  interested  in  the  manufacture  and  sale  of 
imitation  magnesia  coverings, 

Architects  Should  Specify 

K.  & M.  MAGNESIA  COVERING 

or  a covering  composed  of  85  percent.  Carbonate  of  Magnesium. 
and  insist  that  it  is  used. 


6 


THE  ARCHITECTURAL  RECORD. 


NORTHROP^ 

STAMPED  STEEL  CEILINGS 


BANQUET  HALL.  POUCH  MANSION, 

Clinton  Avenue,  Brooklyn,  N.  Y.  Wm.  Mundell,  Architect. 

HENRY  S.  NORTHROP, 

40  Cherry  St.,  New  York. 

Boston  Office:  Special  Patterns  Made  to 

No.  74  Equitable  Building.  Architects'  Designs. 


A ceiling  to  be  satisfactory  must  be  of  a design  appropriate  to  the  room  and  of  the  best  workman- 
ship. We  solicit  the  assistance  of  architects  in  order  to  insure  a perfect  result. 


THE  ARCHITECTURAL  RECORD. 


THE  BEAUTY  OF  THE 


YALE  CUT  GLASS  KNOBS 

Can  be  fully  appreciated  only  by 
those  who  have  seen  them.  We 
produce  Glass  Knobs  in  many  cut- 
tings, and  also  furnish 
them  especially  engraved 
with  crests,  monograms, 
etc.,  when  desired. 

A Brochure  illustrating 
and  describing  Cut  Glass  Knobs 
and  explaining  a new  and  perfect 
method  of  adjustment  to  doors 
is  mailed  on  request. 

In  our  General  Offices  is  an 
EXHIBIT  Room,  for  the  conven- 
ience of  Architects  and  their  clients, 
containing,  in  addition  to  Hard- 
ware of  Ornament  in  many  Schools  and  a great 
variety  of  finishes,  a most  complete  assortment  of 
Builders’  Locks  and  Hardware  at  all  prices. 

GENERAL  OFFICES 

9,  JJ,  13  MURRAY  ST.,  NEW  YORK 
LOCAL  OFFICES 

CHICAGO  PHILADELPHIA  BOSTON  SAN  FRANCISCO 


8 


No.  5. 


GREAT  AMERICAN  ARCHITECTS  SERIES 


Copyright,  i8gg,  by  The  Architectural  Record  Co.,  14-16  Vescy  Street,  N.  Y.  City. 


ADVERTISERS’  DIRECTORY 


Business. 

Artists’  Materials, 


Boilers, 


Brass  and  Bronze  Workers, 


Brick, 


Builders’  Hardware, 


Butts, 

Cement, 


Coverings  for  Pipes  and  Boilers, 
Cut  Stone  Contractors,  . 

Decorations, 


Drawing  Inks, 

Elevators, 

Engineers  and  Contractors, 
Engines, 

Fine  Cabinet  Wood  Work, 
Fireplaces, 

Fireproofing, 


Furnaces  and  Ranges, 


Name. 

Joseph  Dixon  Crucible  Co., 

Chas.  M.  Higgins  & Co., 

Frost  & Adams  Co., 

Westinghouse  Machine  Co., 

The  Stirling  Co.,  .... 
kandolph  & Clowes, 

Jno.  Williams,  .... 
Richey,  Browne  & Donald, 

Gorham  Mfg.  Co., 

Yale  & Towne  Mfg.  Co.,  . 

P.  & F.  Corbin,  .... 
Sargent  & Co.,  .... 
Russell  & Erwin  Mfg.  Co., 

Sayre  & Fisher  Co., 

Meeker,  Carter  & Booraem, 

Powhattan  Clay  Mfg.  Co., 

White  Brick  and  Terra  Cotta  Co., 

American  Enameled  Brick  & Tile  Co., 

Yale  & Towne  Mfg,  Co.,  . 

P.  & F.  Corbin, 

Sargent  & Co. , . 

Russell  & Erwin  Mfg.  Co., 

Reading  Hardware  Co., 

The  Stanley  Works, 

Sargent  & Co.,  .... 
Atlas  Cement  Co., 

Lawrence  Cement  Co. , . 

New  York  and  Rosendale  Cement  Co., 
Sears,  Humbert  & Co., 

Robert  A.  Keasbey, 

B.  A.  & G.  N.  Williams,  . 

George  Brown  & Co.. 

Tiffany  Glass  and  Decorating  Co., 

Gorham  Mfg.  Co., 

Church  Glass  & Decorating  Co., 

Chas.  R.  Yandell  & Co., 

Chas.  M.  Higgins  & Co., 

Otis  Brothers  & Co., 

Westinghouse,  Church,  Kerr  & Co., 

New  Jersey  Steel  and  Iron  Co.,  . 
Westinghouse  Machine  Co., 

Westinghouse  Electric  & Mfg.  Co  , 

White,  Potter  & Paige  Mfg.  Co., 

. Bradley  & Currier  Co., 

. Central  Fireproofing  Co., 

The  Roebling  Construction  Co.,  . 

Fawcett  Ventilated  Fireproof  Building  Co., 
. Richardson  & Boynton  Co., 

Bramhall  Deane  Co., 

The  Thatcher  Furnace  Co. , 


Gas  Generators,  “Acetylene,”  . J.  B.  Colt  & Co., 

Granite  and  Stone,  . . B.  A.  & G.  N.  Williams,  . 

Booth  Bros.  & Hurricane  Isle  Granite  Co., 
Horticultural  Builders,  . Ilitchings  & Co.,  .... 


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10 


THE  ARCHITECTURAL  RECORD. 


ADVERTISERS’  DIRECTORY. — Continued. 


Business. 

Iron  and  Metal  Workers, 


Laundry  Machinery, 
Lead  Pencils, 

Locks, 


Magic  Lantern  Supplies, 
Mahogany  and  Cedar, 
Mail  Chutes, 

Mantels, 


Marble  Workers, 


Name. 

Jno.  Williams, 

Richey,  Browne  & Donald, 

Gorham  Mfg.  Co., 

New  Jersey  Steel  and  Iron  Co.,  . 
P.  & F.  Corbin, 

Sargent  & Co., 

Yale  & Towne  Mfg.  Co., 

Russell  & Erwin  Mfg.  Co., 

Reading  Hardware  Co.,  . 

Troy  Laundry  Machinery  Co.,  Ltd., 
Joseph  Dixon  Crucible  Co., 

P.  & F.  Corbin,  j. 

Sargent  & Co., 

Yale  & Towne  Mfg.  Co., 

Russell  & Erwin  Mfg.  Co., 

Reading  Hardware  Co.,  . 

J.  B.  Colt  & Co., 

Wm.  E Uptegrove  & Bro., 

Cutler  Mfg.  Co., 

Bradley  & Currier  Co., 

W.  H.  Jackson  & Co., 

White,  Potter  & Paige  Mfg.  Co.,  . 
Batterson  & Eisele, 

Rob't  C.  Fisher  & Co.,  . 

Peter  Theis’  Sons, 

Vermont  Marble  Co., 


Modeling  . . . . G.  E.  Wa'ter 


Mosaic  Workers,  . . Batterson  & Eisele, 

Rob’t  C.  Fisher  & Co., 


Piano  Cases, 

Protective  Paints, 

Parquet  Floors,  . 
Photographic  Materials, 
Plumbing, 

Refrigerators, 

Roofing  Tiles, 

Sanitary  Specialties, 

Shingle  Stains, 


Steinway  & Sons, 

Joseph  Dixon  Crucible  Co., 
Edward  Smith  &co., 

G.  W.  Koch  & Son, 

E.  & H.  T.  Anthony  & Co., 
Thomas  J.  Byrne, 

Lorillard  Refrigerator  Co., 
Celadon  Terra  Cotta  Co., 

J.  L.  Mott  Iron  Works, 

R.  M.  Wilson, 

Dexter  Bros., 

Samuel  Cabot 


Silversmiths, 

Spring  Hinges, 

Stained  Glass  and  Mosaics, 


Stamped  Steel  Ceilings, 

Steam  and  Hot  Water  Heating, 


Stone, 


Tapestries, 
Terra  Cotta, 


Gorham  Mfg.  Co., 
Bommer  Brothers, 


Tiffany  Glass  and  Decorating  Co., 
Gorham  Mfg.  Co., 

Church  Glass  & Decorating  Co.,  . 
Henry  S.  Northrop, 

Westinghouse,  Church,  Kerr  & Co., 
Gillis  & Geoghegan 
Richardson  & Boynton  Co., 
Hitchings  & Co., 

Thatcher  Furnace  Co., 

Foskett  & Bishop  Co., 


B.  A.  & G.  N.  Williams,  . 

Booth  Bros.  & Hurricane  Isle  Granite  Co 
Wm.  Gray  & Sons, 


Marshall  Field  & Co., 


Perth  Amboy  Terra  Cotta  Co., 
Celadon  Terra  Cotta  Co., 


Tiling,  ....  Bradley  & Currier  Co., 


Page. 

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11 


THE  ARCHITECTURAL  RECORD. 


IN  PROCESS  OF  CONSTRUCTION. 


f **1  f «~1  IV  C*  f\  Pullman  Building,  CHICAGO. 
I lie  VU.  95  Liberty  St.,  NEW  YORK. 

WATER  TUBE  SAFETY  BOILERS. 

In  General  Use  throughout  the  United  States. 

Local  References  Furnished  on  Application. 

SPECIFICATION.— All  Steel.  No  Castings.  No  Stayed  Surfaces.  No  Flat  Surfaces  under  Pres- 
sure.  All  Parts  Cylindrical  or  Spherical  in  Shape.  Efficient,  Durable,  Simple. 


COMPLETED  PLANT. 

12 


THE  ARCHITECTURAL  RECORD. 


Newark,  N.  J. 


THE  PRUDENTIAL  LIFE  INSURANCE  BUILDING. 

GEORGE  B.  POST,  Architect. 


- 


p 

Pr 

i/Sjt  \i 

m\ 

GEORGE  BROWN  & CO. 

Cut  Stone  Contractors, 


ESTABLISHED  1850. 
INCORPORATED  1893. 


II23  BROADWAY, 

NEW  YORK. 


REFERENCES  : ARCHITEC1S. 

PRUDENTIAL  INS.  BUILDING,  Newark,  N.  J GEO.  B.  POST 

NEW  COLUMBIA  COLLEGE  LIBRARY McKIM,  MEAD  & WHITE 

SAMPSON  BUILDING,  63  and  65  Wall  Street CLINTON  & RUSSELL 

HUDSON  BUILDING,  32  and  34  Broadway  CLINTON  & RUSSELL 

TOWNSEND  BUILDING,  Broadway  and  25th  Street  C.  L.  W.  EIDLITZ 

9 TO  15  MURRAY  STREET  CLINTON  & RUSSELL 

PHELPS  MEMORIAL,  Yale  College  C.  C.  HAIGHT 

COFFEE  EXCHANGE  R.  W.  GIBSON 

COLUMBIA  COLLEGE  LIBRARY,  42d  St C.  C.  HAIGHT 

L C.  WARNER  HOUSE,  Irvington,  N.  Y R.  H.  ROBERTSON 

594  and  596  BROADWAY  BU'CHMAN  & DEISLBR 

GENERAL  THEOLOGICAL  SEMINARY  BUILDINGS.  Chelsea  Square C.  C.  HAIGHT 

WILBRAHAM,  5th  Avenue  and  30th  Street D.  & J.  JARDINE 

“LIFE”  BUILDING,  31st  Street,  near  Fifth  Avenue  CARRERE  & HASTINGS 

CANCER  HOSPITAL,  Eighth  Avenue  and  105th  and  106th  Streets  C.  C.  HAIGHT 

LAWYERS’  TITLE'  INS.  BUILDING,  Maiden  Lane  and  Liberty  Street C.  C.  HAIGHT 

MARKET  AND  FULTON  BANK,  Fulton  and  Gold  Streets  WM.  B.  TUBBY 

ANDERSON  BUILDING,  John  Street  R.  S.  TOWNSEND 

HOTEL  ROYALTON,  West  43d  and  44th  Streets ROSSI  TER  & WRIGHT 

ST.  PAUL’S  SCHOOL,  Church,  Vesey  and  Fulton  Streets  C.  C.  HAIGHT 

FIDELITY  AND  CASUALTY  INSURANCE  CO C.  L.  W.  EIDLITZ 

PRATT  INSTITUTE’  LIBRARY  WM.  B.  TUBBY 

TRINITY  SCHOOL,  91st  Street,  near  Columbus  Avenue C.  C.  HAIGHT 

LACKAWANNA  BUILDING,  Exchange  Place  and  William  Street L.  C.  HOLDEN 

BUCKINGHAM  HOTEL,  Fifth  Avenue  and  50th  Street  WM.  FIELD  & SON 

RESIDENCE  OF  H.  McKAY  TWOMBLY,  Madison,  N.  J McKIM,  MEAD  & WHITE 

CHURCH  MISSION  HOUSE,  Fourth  Avenue  and  22d  Street R.  W.  GIBSON 

HOSPITAL,  43d  Street  and  Lexington  Avenue C.  C.  HAIGHT 

714  BROADWAY  BUCHMAN  & DEISLBR 

KING  MODEL  HOUSES  (40),  138th  Street.  West McKIM,  MEAD  & WHITE 

MANICE  BUILDING,  Pine  and  William  Streets D.  & J.  JARDINE 

RESIDENCE  OF  GEO.  KEMP,  Fifth  Avenue  and  56th  Street  R.  C.  JONES 

TELEPHONE  BUILDING,  Broad,  Pearl  and  Stone  Streets  C.  L.  W.  EIDLITZ 

HOUSES,  73d  Street  and  Park  Avenue  BUCHMAN  & DEISLBR 

BELGRAVIA,  Fifth  Avenue  and  49th  Street R.  C.  JONES 


13 


14 


Xewport,  R.  I.  THE  CRAGS,  Bruce  Price,  Architect. 


THE  ARCHITECTURAL  RECORD. 


JI70  Lprillard  Refrigerator 

WHICH  HAS  NOW  BEEN  BEFORE  THE  PUBLIC  TWE  NTY  YEARS, 
THE  BUSINESS  HAVING  BEEN  ESTABLISHED  BY  MR.  JACOB 
LORILLARD  IN  1877,  COMPLIES  WITH  EVERY  MODERN  SANI- 
TARY REQUIREMENT  AND  REPRESENTS: 

First — Economy  in  cost.  Our  price  is  as  low  as  is  consistent  with  good  work. 
To  pay  less  is  to  fail  to  secure  the  desired  results  ; you  cannot  pay  more 

AND  GET  VALUE. 

Second — A lower  degree  of  temperature  is  obtained  and  will  be  maintained 
than  by  any  other  make  of  Refrigerator — comparing  the  number  of  pounds 
of  ice  consumed  with  the  cubic  measurement  of  the  provision  chamber. 

Third — The  leading  architects  and  sanitary  experts  commend  our  glass-lined 
refrigerators,  which  present  a clean,  white,  sanitary  surface,  rendering  it 
IMPOSSIBLE  FOR  DISEASE  GERMS  TO  LODGE. 

Fourth — More  storage  capacity  for  food,  etc.,  than  exists  in  any  other  make  of 
the  same  outside  dimensions. 

Fifth  — Economy  in  ice;  the  daily  waste  in  the  larger  sizes  being  fully  fifty  per 
cent,  less  than  any  other  make  producing  as  low  a degree  of  1 emperature. 

Sixth — No  trouble  to  cleanse;  the  ice  tank  being  simply  lifted  out  of  the 
Refrigerator,  and  the  shelving,  etc.,  removed,  thus  leaving  it  completely 
empty  for  cleansing  purposes.  No  long  drain  pipe  to  become  clogged  up 
and  flood  Refrigerator. 

Seventh — Workmanship.  We  spare  no  expense  in  order  to  give  the  very  best 
work  possible. 


The  following  is  a partial  list  of  families  using  the  Loriltarcl  Refrigerator . 


Belmont,  Mrs.  August Hemps  ead,  L.  I. 

Belmont,  Hon.  Perry New  York. 

Belmont,  0.  H.  P Newport,  R.  I. 

Burden,  W.  F Newport  and  New  York. 

Cammack,  A New  York. 

Clews,  Henry  New  York. 

Colgate,  Robert  Riverdale,  N.  Y. 

Corbin,  Austin  Babylon,  L.  I. 

Cruger,  Col.  S.  V.  R New  York. 

Daly,  Augustin  ' New  York. 

Dillon,  Sydney  New  York. 

Dinsmore,  W.  B New  York. 

Doremus,  R.  C New  York. 

Dodge,  W.  E Riverdale,  N.  Y. 

Field,  C.  W New  York. 

Garrett,  Robert  Baltimore,  Md. 

Gebhard,  F Eatontown,  N.  J. 

Gerry,  Elbridge  T New  York. 

Goelet,  Robert  New  York. 

Goelet,  Ogden  New  York,  and  Newport,  R.  I 

Gould,  Geo.  J Lakewood,  N.  J. 

Grael,  Chas Tarrytown,  N.  Y. 

Harriman,  E.  H New  York. 

Harper,  Henry  Sands  Point,  L.  I. 

Harper,  J.  A.  New  York. 

Havemeyer,  H.  O New  York. 

Higgins,  Eugene Morristown,  N.  J. 

Hoagland,  J.  C Seabr-'ght,  N.  J. 

Huntington,  C.  P New  York. 


Iselin,  C.  0.  D New  Rochelle,  N.  Y. 

Jesup,  Morris  K Lenox,  Mass. 

Kernochan,  J.  F New  York. 

Keene,  John  R Cedarhurst,  L.  I. 

Kutroff,  A New  York. 

Kunhardt,  C New  Brighton.  S.  I. 

Lmderman,  R.  P Fishers  Island,  N.  Y. 

Lorillard,  Pierre New  York. 

Lorillard,  Jacob  New  York. 

Lorillard,  Louis  New  York. 

Mills,  D.  0 Mills  Building. 

Norrie,  Gordon  New  York. 

Pitcher,  James  R Short  Hills,  N.  J. 

Pyle,  James  Tolman  New  York. 

Shepard,  Mrs.  Elliot  F Scarboro.  N.  Y. 

Sloane,  H.  T New  York. 

Sloane,  W.  D New  York. 

Stern,  Isaac  New  York 

Stern,  Louis  New  York. 

Stokes,  Mrs.  Anson  Phelps Lenox,  Mass. 

Story,  Marion Portchester,  N.  Y. 

Taylor,  H.  A.  C Newport,  R.  I. 

Tiffany  House  New  York. 

Tilford,  Frank  New  York. 

Twombley,  H.  McK Madison,  N.  J. 

Vanderbilt,  Cornelius  New' York. 

Vanderbilt,  Geo.  W Bllimore,  N.  C. 

Work,  Frank  .New  York. 

Yerkes,  C.  T New  York. 


THE  LORILLARD  REFRIGERATOR, 


Established  1877. 


1168  Broadway,  New  York. 


Telephone  300  18th  St. 


THE  ARCHITECTURAL  RECORD. 


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KIRK  BY  DESIGN  — ENGLISH  GOTHIC. 


SARGENT  & CO.,  Makers  of  Fine  Locks  and  Artistic  Hardware,  New  Haven,  Conn.  New  York,  Philadelphia.  Boston. 

in 


MW 


BRUCE  PRICE 


tTbe 


may  well  be  thought  a great  misfortune  that  the 
rage  for  what  are  supposed  to  be  classical  forms 
and  classical  combinations  should  have  seized  the 
community  at  a time  when  it  is  so  entirely  unfit  to 
handle  them.  Its  longing  may  be  thought  to  prove 
its  need.  The  fact  that  it  cannot  possibly  hope  to 
build  in  what  is  supposed  to  be  the  classical  spirit 
is  perhaps  the  reason  why  it  longs  to  do  so.  Admit  that  the  present 
historically  learned  epoch  has  discovered  a virtue  in  certain  ages 
of  the  past,  which  virtue  it  cannot  but  find  itself  notably  deficient 
in,  and  it  will  yearn  and  strive  that  it  may  in  some  way,  not  yet  clear 
to  itself,  seize  some  part  of  that  lost  propriety  and  intelligence. 
For  propriety  and  intelligence  are  the  chief  characteristics  of  what 
the  moderns  call  classical  architecture.  Little  does  the  modern  de- 


te 


Designed  by  Bruce  Price. 


signer  or  the  modern  critic  care  about 
the  facts,  because  the,  as  yet,  ascertained 
facts  are  only  slowly  calling  his  attention. 
Inasmuch  as  the  men  of  the  Renaissance 
and  the  men  of  the  sixteenth  century 
classical  revival,  or  classical  deca- 
dence, as  you  choose  to  con- 
sider it — inasmuch  as  they  had 
no  suspicions  that  the  buildings  of 
Greece  were  differentiated  in  any 
wav  from  those  at  Rome,  either  in  f 
picturesqueness  of  situation,  in  ir- 
regularity of  grouping,  defying  the 
“axis,”  or  in  smallness  and  sim- 
plicity ; and  inasmuch  as  they  had 
equally  little  idea  that  much  of  the 
original  effect  of  the  intended  ef- 
fect of  those  Greek  buildings  lay 
in  the  application  of  color  and  of 


Designed  by  Bruce  Price. 


Copyright,  1899,  by  The  Architectural  Record  Company.  All  rights  reserved. 


THE  ARCHITECTURAL  RECORD. 


3 

metal  and  of  other  adjuncts;  inasmuch  as  Roman  palaces  also  in 
their  completed  brilliancy  and  abundance  of  surface  adornment 
were  almost  as  little  understood  as  even  the  distant  Greek  por- 
ticos ; and  inasmuch  as  the  accepted  authorities  of  the  sixteenth 
century  put  down  in  their  books  what  were  to  be  considered 
from  their  time  on  the  true  line  and  the  true  proportion  of  classical 
architecture  considered  as  a tangible  and  seizable  unit,  the  mod- 
ern world  of  persons  desiring  to  build  in  the  classical  spirit  still 
clings  to  the  white  marble  colonnades  as  the  seventeenth  century 
men  understood  them,  and  is  satisfied.  When  we  speak,  therefore, 
of  the  classical  spirit  in  modern  times,  it  must  be  understood  to  be 
with  no  assumption  that  the  spirit  of  Greece  500  years  B.  C.,  or  the 
spirit  of  Rome  150  years,  A.  D.,  was  at  all  akin  to  this  classical  con- 
ception. The  modern  classical — the  so-called  classical,  the  imagin- 
ary classical — spirit  is  a matter  of  colonnades  and  entablatures  al- 
most altogether,  and  of  subtle  and  delicate  but  well-settled  propor- 
tions within  these  essentially  simple  architectural  members:  the 
other  parts  of  the  building,  the  window-pierced  walls,  the  flat  or 
domical  roofs  and  the  details  large  and  small  being  generally  de- 
void of  character.  If  a large  building  with  windows  and  a roof  is  to 
be.  built,  the  two  requirements  for  it,  according  to  the  less  classic 
doctrine  are  that  it  shall  have  somewhere  colonnades  of  a supposed 
classical  type,  and  that  it  shall  have  subtlety  of  proportion  between 
walls  and  roof,  between  wing  and  central  mass,  between  doors  and 
windows,  between  windows  and  the  intervening  piers,  between  base- 
ment and  principal  story  and  attic. 

It  is  because  this  matter  of  delicate  proportion  is  almost  out  of 
reach  in  the  modern  world  of  business  buildings,  private  houses 
and  churches,  with  novel  requirements,  built  as  they  are  in  a hurrj 
by  men  who  are  generally  rather  businesslike  builders  than  artists, 
that  it  has  been  spoken  of  above  as  unfortunate  that  this  particular 
epoch  should  have  taken  up  the  supposed  classical  style  with  which  to 
adorn  itself.  The  haste  and  confusion  of  the  modern  business  world 
allows  now  and  then  that  a bright  man,  a clever  man,  a quick  man, 
a man  full  of  readiness  and  resource  may  make  a design  in  some  bold 
and  startling  way  of  his  own..  It  can  never  allow  that  he  or 
anyone  should  produce  a delicate  design  in  which  refinement  of  pro- 
portion shall  be  a chief  ingredient.  If,  indeed,  a colonnade,  taken 
directly  from  the  pages  of  Vignola  or  from  a measured  releve  of  a 
palace  left  by  Palladio  will  suffice;  if  nothing  architectural  is  asked 
for  except  that  the  building  behind  it  may  be  the  most  common- 
place right-angled  box  with  square  windows  in  it  at  equal  intervals, 
then,  indeed,  the  pseudo-classical  spirit  may  be  considered  to  have 
triumphed  on  that  occasion.  It  is  not,  however,  in  this  way  that 
buildings  can  generally  be  left ; buildings  must,  as  a general  thing, 
have  some  relation  to  the  requirements  of  the  persons  who  are  to 


THE  WORKS  OF  BRUCE  PRICE. 


3 


use  them.  If  there  is  now  and  then  a public  library  or  a state-house 
which,  in  the  hands  of  its  careless  trustees,  may  be  built  on  the 
great  let-alone  principle  above  described,  the  majority  of  buildings 
still  remain  so  very  interesting  to  their  owners  or  the  representa- 
tives of  their  owners — to  trustees,  to  committeemen,  to  future  super- 
intendents and  managers — that  they  must  be  built  with  walls,  roofs 
and  windows  primarily  and  with  colonnades  only  as  a secondar) 
piece  of  ornamentation. 

It  is,  therefore,  with  pleasure  that  one  takes  up  the  consideration 
of  the  work  of  Bruce  Price,  for  this  architect  seems  from  his  work 
to  have  an  equal  regard  for  the  refinements  of  a Greek  order,  for 
the  logical  sincerity  of  Gothic  design,  and  for  the  picturesque  dash 
of  the  French  Renaissance.  One  might  wish  that  from  this  eclec- 
tic spirit  of  his  some  particular  style  of  his  own  should  materialize 
and  should  from  that  time  on  control  and  find  employment  for  all 
his  energies,  but  until  that  time  comes,  it  is  of  the  greatest  interest 
to  see  the  sincere  way  in  which  different,  and  what  appears  to  the 
hasty  observer,  hostile  elements,  are  made  to  combine  in  his  work 
to  produce  an  unmistakably  agreeable  result.  The  standard  which 
must  be  set  up  for  the  work  of  a hurried  and  busy  New  York  archi- 
tect is  not  that  which  would  be  applied  to  a purist  of  the  time  of 
Bramante.  There  has  been  no  thoroughly  good  work  done  since 
Mr.  Price  became  a conscious  member  of  the  world  of  fine  art 
workmen,  and  there  are  no  traces  of  thoroughly  good  work  in  the 
country  of  which  he  has  been  a citizen.  Thoroughly  good  work  is 
not  in  our  way.  We  are  not  after  the  best,  or  even  the  very  good, 
but  that  which  may  be  called  the  second  best  or  the  endurable  is 
that  to  which  we  devote  our  time  and  strength.  Speaking  always 
from  the  point  of  view  of  the  artist!  If  it  is  the  convenient  modern 
building  with  every  sort  of  recently  discovered  appliance  and  re- 
cently patented  device  that  is  under  consideration,  then,  indeed,  the 
standard  is  altogether  different.  The  object  of  these  studies  is  to 
apply  the  artistic  standard  to  these  modern  buildings,  and  to  seek 
some  trace  of  older  and  happier  inspiration  in  their  comparative 
inevitable  dullness.  If,  then,  the  standard  is  to  be  lowered  in  order 
that  these  modern  buildings  may  be  treated  seriously  at  all,  let  it 
be  understood  that  in  the  case  of  the  architect  whose  work  is  now 
before  us,  this  lowering  of  the  standard  is  felt  to  be  much  less  con- 
siderable than  in  most  possible  cases  of  the  same  sort.  Something 
of  the  old  spirit  there  is  in  the  work  which  we  have  to  consider,  and 
it  is  possible  to  invite  the  reader’s  attention  to  designs  which,  if  our 
illustrations  could  adequately  set  them  off,  would  entertain  them 
vastly  more  and  in  a vastly  higher  sense  than  could  the  work  of 
most  of  Mr.  Price’s  contemporaries. 

That  which  has  struck  the  popular  mind  most  forcibly  in  this 


4 


THE  ARCHITECTURAL  RECORD. 


body  of  work  is,  of  course,  the  design  of  the  two  or  three  great  busi- 
ness buildings  which  he  has  built  in  these  later  years.  Of  these  the 
most  prominent  is  the  building  of  the  Surety  Company  which  stands 
on  Broadway,  at  the  corner  of  Pine  street,  occupying  a lot  of  about 
eighty-five  feet  on  each  of  its  sides,  but,  unfortunately,  not  eighty- 
five  feet  square.  The  lot  is,  in  a general  way,  lozenge  shaped  and 
just  enough  out  of  square  for  its  irregularity  to  interfere  with  the 
lines  of  perspective  and  to  give  the  spectator  the  impression  of  a 
square  building,  whose  receding  lines  are  in  a sense  forced  in  their 
perspective,  unnatural  in  an  undefined  way  and,  therefore,  disagree- 
able. It  was  a serious  handicap  to  the  designer  and  one  which  a 
less  bold  treatment  of  the  problem  of  design  would  have  left  far 
more  painful  than  it  is. 

From  the  beginning  this  designer  seems  to  have  felt,  and  urged 
with  success  upon  his  employers,  that  nothing  can  hope  to  save 
the  general  architectural  effect  of  our  “sky-scrapers”  so  long  as 
their  rear  walls  and  gable  walls  are  allowed  to  remain  wholly  un- 
architectnral  in  treatment.  The  simplicity  of  the  rear  wall  might, 
indeed,  be  carried  through  the  whole  building  and  the  walls  on  the 
street  might  match,  in  unpretending  character,  the  walls  of  rear  and 
flank,  and  no  harm  be  done.  Simplicity  by  itself  is  not  an  evil  and 
the  very  plain  brick  building  with  square  windows  may  be  so 
treated  architecturally  as  to  be  effective.  What  is  bad  about  the 
rear  walls,  and  the  walls  which  divide  one  building  from  its  neigh- 
bor, is  not  their  simplicity  but  their  rudeness  of  treatment;  the  de- 
liberate refusal  to  consider  them,  in  an  architectural  sense  at  all, 
and  the  putting  on  of  copings  at  all  elevations  and  the  breaking  out 
of  windows  without  reference  to  harmony;  even  the  treatment  of 
the  masses  themselves,  as  if  appearances  here  were  not  to  be  con- 
sidered at  all  and  as  if  it  were  quite  indifferent  whether  any  given 
corner  be  turned  by  a right  angle,  by  a splay,  or  by  a curve.  When 
such  carelessness  as  this — hardly  justifiable  even  in  the  rear  wall  of 
a cheap  brick  three-storv  dwelling  house — when  such  carelessness 
as  this  is  spread  over  walls  measured  in  their  horizontal  dimensions 
bv  scores  of  feet  and  carried  to  three  hundred  feet  above  the  street, 
the  effect  is  simply  disastrous,  and  there  has  been  occasion  in  for- 
mer articles  of  this  series  to  call  attention  to  the  ruin  which  has  be- 
fallen well-intended  and  well-thought-out  architectural  composi- 
tions in  the  way  of  street  fronts,  by  the  juxtaposition  of  these  in- 
conceivably ugly  back  walls  and  side  walls.  This,  as  has  been  said, 
Mr.  Price  set  himself  to  correct,  and  in  the  instance  before  us  he  has 
been  able  to  repeat  the  very  costly  front  on  Broadway  and  Pine 
street  upon  such  parts  of  the  southerly  and  easterly  faces  of  his 
building  as  must  of  necessity  rise  above  the  roofs  of  adjoining 
structures.  The  building,  as  the  picture,  Fig.  i,  shows  it  is  a great 


FIG.  1— AMERICAN  SURETY  BUILDING. 


S.  E.  Cor  Broadway  and  Pine  St.,  New  York  City. 


Bruce 


Price, 


Architect,  i 


- - , ■» 


6 


THE  ARCHITECTURAL  RECORD. 


FIG.  2.— AMERICAN  SURETY  BUILDING  (IN  BACKGROUND.) 
(View  from  Southeast.) 


THE  WORKS  OF  BRUCE  PRICE. 


7 


tower,  nearly  square  on  the  plan,  and  three  hundred  and  eight  feet 
high.  Of  this  height  nearly  two-thirds  is  in  relief  above  the  neigh- 
boring buildings,  and,  therefore,  from  almost  any  possible  point  of 
view,  the  four  facades  have  practically  equal  prominence.  Even 
from  the  sidewalks  of  Broadway  there  is  no  particular  interference 
with  the  southerly  front,  which  rises  above  the  building  No.  86 
Broadway,  more  than  on  the  northerly  front,  which  rises  above 
Pine  street,  and,  therefore,  above  the  Equitable  Eife  Insurance 
Building  on  the  northerly  side  of  Pine  street.  We  have,  therefore, 
to  consider  this  building  as  a finished  tower — as  a tower  having  a 
complete  architectural  treatment  on  four  sides,  and  as  being  in  this 
way  far  more  fortunate  than  any  of  its  near  neighbors.  The  prob- 
lem in  such  a case  is,  of  course,  the  subdivision  of  the  vast  height 
which  has  no  natural  subdivisions.  Given  a church  tower  of  the 
ordinary  character  and  of  similar  height  and  it  resolves  itself  nat- 
urally into  the  square  mass  which  we  call  especially  "the  tower” 
and  the  spire  rising  from  the  top  of  this  tower.  These  two  divisions 
are  themselves  subdivided,  the  spire  perhaps  into  lantern  and  the 
slender,  tapering  part,  or  into  group  of  pinnacles  and  dormers  below 
and  tapering  roof  above ; the  tower,  into  the  belfry  or  the  more  open 
upper  story,  and  the  less  freely  pierced,  more  massive  sub-structure. 
Other  subdivisions  are  given  by  dormer  windows  and  pinnacles 
in  the  upper  part,  and  by  string-courses  and  the  like  in  the  lower 
part,  which  the  architecture  of  the  church  itself  suggests.  But  in  a 
tower  like  that  which  we  are  considering  there  is  really  nothing  to 
determine  the  treatment  of  one  part  as  being  different  from  that  of 
another  part.  There  are  twenty-three  stories  of  precisely  similar 
rooms,  and  all  of  these  require  windows  of  precisely  similar 
character;  the  only  distinction  being  that  the  ground  floor  story 
may  and  often  is,  indeed,  somewhat  higher  in  the  ceiling  and  some- 
what larger  in  the  treatment  as  being  frequently  let  in  two  or  three 
very  large  offices  for  banks  and  the  like,  whereas  the  upper  stories 
are  cut  up  into  numerous  small  separate  rentals.  This  super  impo- 
sition then  of  twenty  horizontal  layers  furnishes  the  problem,  and 
the  way  in  which  Mr.  Price  has  undertaken  to  solve  this  problem 
is  by  leaving  rather  more  than  half  of  the  total  height  in  one  block 
with  its  seventy-seven  windows  in  each  face,  all  alike,  while  the  six 
stories  at  the  top  are  combined  in  a richer  composition,  and  the 
three  stories  at  the  bottom  are  worked  into  a severer  basement. 
Considering,  then,  first  the  central  mass;  these  windows  are  really 
all  alike,  square,  closed  by  lintels,  and  the  piers  between  them,  and 
at  the  corners  are  marked  by  horizontal  banding  which,  by  an  in- 
genious device,  is  made  unusually  prominent  and  effective  in  the 
design  without  very  great  projection  anywhere.  The  large  view  of 
the  basement,  Fig.  3,  shows  above  the  portico  the  lowest  part  of 


8 


THE  ARCHITECTURAL  RECORD. 


this  main  wall,  made  up  of  the  banded  piers  between  the  windows, 
and  at  the  corners.  The  effectiveness  of  this  banded  structure  from 
a distance  is  surprisingly  great.  One  has  to  be  far  away,  as  on  the 
deck  of  a ferry  boat  on  the  North  River,  before  the  strong  horizon- 
tality  of  this  feature  can  be  lost.  It  will  be  noted  that  the  panels 
between  the  windows,  taken  vertically,  are  filled  by  short  lengths 
of  fret  or  meander,  not  in  itself  a very  happy  device,  but  sufficing  to 
mark  the  verticality  of  the  groups  of  windows  and  to  insist  on  the 
piers  between  them  as  being  continuous  from  base  to  summit,  al- 
though each  pier  is  so  strongly  divided  into  horizontal  courses. 


FIG.  3.— ENTRANCE  TO  AMERICAN  SURETY  BUILDING. 

All  this  is  as  it  should  be.  The  piers  being  really  mere  shafts,  a com- 
cealment  for  steel  columns  which  go  from  the  lowest  foundation  to 
the  roof  without  break  in  their  continuity,  are  rightly  insisted  on 
as  vertical  members,  while  yet  their  union  with  the  whole  structure 
is  marked  bv  the  horizontal  lines. 

Above  and  below  this  main  shaft,  as  for  the  present  purpose  it 
may  be  called,  there  are  more  elaborate  pieces  of  design,  and  it  may 
be  thought  by  many  that  the  uppermost  main  division,  that  which 
consists  of  five  architectural  stories,  and  reaches  from  the  horizontal 
string  course  above  the  round-arched  windows  to  the  top,  is  too 


THE  WORKS  OP  BRUCE  PRICE. 


9 


FIG.  4— ELEVATOR  INDICATOR,  AMERICAN  SURETY  BUILDING. 

Designed  by  Bruce  Price. 

florid.  To  the  present  writer  it  seems  not  too  florid  but  misunder- 
stood,in  that  a colossal  order  of  Corinthian  pilasters, having  between 
these  shafts  a row  of  more  elaborate  windows,  and  another  row  of 
small,  square  ones,  forms  its  principal  feature.  There  has  been  occa- 
sion before  this  to  ask  whence  came  the  idea  that  one  of  the  upper 
stories  of  a lofty  building  might  be  treated  with  a row  of  columns 
or  pilasters  when  there  is  nothing  columnar  about  the  structure 
generally.  Its  origin  is  not  easy  to  trace,  and  if,  as  seems  most 
likely,  it  was  a mere  device  of  architects  who  were  at  their  wits’ 
end  for  some  element  of  variety  so  as  to  mark  the  upper  part  of  a 
lofty  building  with  features  which  were  not  in  its  main  mass,  then 
it  can  only  be  considered  a feeble  device  and  incongruous  in  its  re- 
sult. The  least  happy  thing  about  this  design  is  this  same  order  of 
pilasters.  The  architect  who  has  made  the  fenestration  of  eleven 
stories  alike,  and  has  deferred  so  far  to  the  great  principle  of 
monotony,  may  certainly  be  forgiven  for  breaking  out  at  the  top 
and  giving  one  row  of  windows  especial  prominence  in  the  way  of 


10 


THE  ARCHITECTURAL  RECORD. 


STATUARY'ON 
AMERICAN  SURETY 
BUILDING. 


frontons  above  and  small  columns  at  the  sides,  even  though  that 
row  of  windows  does  not  light  a particularly  important  story.  He 
may  be  forgiven  that,  but  that  two  stories  should  be  married  to- 
gether by  a colossal  order  of  pilasters,  which  order  seems  to  impose 
upon  the  sixteen  stories  below  the  duty  of  acting  as  their  base- 
ment, is  harder  to  accept.  Otherwise,  there  is  only  to  connote  very 
great  ingenuity  in  multiplying  the  details  thought  necessary  to 
make  up  this  elaborate  finish  of  the  building,  the  repeti- 
tion of  the  great  cornice  by  the  heavy  string-courses  below, 
by  the  heavy  round-arched  windows  and  by  the  crowning  member 


THE  WORKS  OF  BRUCE  PRICE. 


1 1 

of  gilded  metal,  which  shows  against  the  sky,  and  the  echoing  of  all 
these  horizontal  members  by  the  minor  string-courses  which  divide 
the  stories  of  this  uppermost  quarter  of  the  building,  which  in  itself 
is  higher  as  well  as  more  elaborate  than  the  whole  business  build- 
ing of  twenty  years  ago.  There  is  another  thing  which  those  who 
saw  the  building  before  its  entire  completion  will  regret,  and  that 
is  that  the  rondels  which  recently  showed  the  sky  through  them 
have  now  become  windows  in  consequence  of  the  addition  of 
another  story  to  the  building,  and  the  raising  of  the  roof  to  a 
point  higher  than  was  at  first  intended.  The  effect  of  that  letting 
of  the  sky  through  the  uppermost  wall  of  this  lofty  structure  was 
the  carrying  to  an  unexpected  and  hitherto  unknown  extent  that 
beautiful  element  of  design  which  the  battlement,  the  pierced  para- 
pet and  similar  architectural  devices  have  always  given  to  the  de- 
signer. The  passing  of  the  darker  wall  into  the  sky  and  of 
the  brighter  sky  into  the  wall  in  a kind  of  counter-change  is  one 
of  the  beautiful  effects  possible  in  flat-roofed  or  low-roofed  struc- 
tures, and  to  have  lost  this  is  to  have  lost  much.  It  will  be  under- 
stood by  those  who  know  these  lofty  buildings  in  their  internal  econ- 
omy that  a parapet  wall  of  six  or  ten  feet  is  needed  to  mask  the  en- 
tirely regular  and,  in  a sense,  offensive  skylights,  ventilators,  tops 
of  elevator  shafts  and  the  like  which  occupy  so  much  of  the  hori- 
zontal space  of  a roof.  No  architectural  management  could  make 
anything  of  these,  and  the  only  way  to  treat  the  case  is  to  conceal 
them  altogether.  Even  those  business  buildings  which  pretend  to 
the  picturesque  effect  of  a lofty  and  high-pitched  roof,  must  have 
in  a concealed  flat,  masked  by  higher  portions  of  the  roof  itself, 
some  such  open  deck  upon  which  these  “head  buildings”  as  we  be- 
gin to  call  them,  can  be  placed,  and  it  is  clear  that  the  intelligent 
and  logical  way  is  to  make  the  roof  flat,  in  the  first  place,  and  to 
put  these  disagreeable  necessities  where  they  belong  and  then  to 
hide  them  by  a wall  from  the  spectator  below.  The  change  wrought 
in  the  Surety  Building  has  been  that  of  greatly  diminishing  the 
height  of  this  free,  parapet  wall,  by  raising  the  main  flat  roof. 

We  have  still  to  consider  the  important  basement  of  this  building 
and  to  weigh  the  very  difficult  question  of  the  propriety  of  the  Greek 
portico  on  the  Broadway  front.  “Greek”  portico  one  says  advisedly, 
for  the  Tonic  colonnade  has  been  very  carefully  studied  from  Athe- 
nian and  not  Italian  sources.  It  will  be  observed  at  once  that  this 
Ionic  colonnade  is  emphasized,  and  its  effect  strengthened,  by  the 
order  of  square  pilaster-like  piers  which  fills  the  front  on  Pine  street 
and  is  repeated  in  the  very  heavy  angle-piers  on  Broadway.  Be- 
tween these  angle-piers  the  entablature  breaks  out,  including  six 
of  the  main  piers  of  the  Broadway  front  in  a salient,  or  rcssaut , as 
it  may  be  called,  with  two  small  returns.  This  projecting  part  of 


12 


THE  ARCHITECTURAL  RECORD. 


the  entablature  forms  the  crowning  horizontal  part  of  the  portico. 
The  columns  at  the  end  are  treated  like  those  between  them,  and 
not  with  any  attempt  to  put  “angle-capitals”  at  the  angles.  This 
is  a most  happy  piece  of  restraint,  for  where  the  angle  is  so  slightly 
marked,  its  projection  being  nothing  in  comparison  with  the  width 
of  the  portico  in  front,  it  would  have  been  a mistake  to  have  insisted 
on  the  fact  of  the  projection,  and  it  is  better  to  treat  this  projec- 
tion like  the  mere  setting  out  of  the  middle  of  the  basement  story 
a little  in  advance  of  the  main  structure  as  if  to  carry  the  statues 
which  crown  it  than  to  give  it  that  emphasis  which  a less  thought- 
ful designer  would  have  insisted  on,  and  which  might  well  have 
seemed  excessive.  In  the  first  story  above  the  basement  proper  a 
ressaut  of  less  projection  repeats  this  slight  break  in  the  middle,  and 
beneath  it  and  supporting  it  are  six  piers,  each  flanked  by  an  en- 
gaged column  of  a similar  but  much  smaller  Ionic  order.  These 
piers  serve  as  the  backing  of  the  symbolical  statues  by  Mr.  J.  Massey 
Rhind.  Our  illustration,  Fig.  3,  show  at  once  all  these  important 
details,  but  it  is  necessary  to  turn  to  Fig.  1 to  weigh  their  value  to 
the  building.  It  may  easily  be  thought  that  the  treatment  of  the 
Pine  street  front  with  the  basement  made  up  of  square-edged  piers 
with  their  slightly  indicated  capitals,  is  more  judicious  for  SO'  lofty 
and  ponderous  a structure  than  the  masking  of  it  by  the  delicate 
proportions  of  a colonnade.  On  the  other  hand,  the  colonnade  in 
itself  is  a thing  so  very  attractive,  so  delicate  in  design,  such  a mas- 
terly adaptation  of  the  loveliest  forms  of  antiquity,  and  is  so  beau- 
tiful as  seen  from  the  sidewalks  of  Broadway,  that  it  is  hard  to  re- 
gret its  presence.  Granted  that  it  is  not  quite  a part  of  the  building, 
it  still  remains  true  that  there  is  not  one  point  of  view  from  which 
you  can  survey  the  whole  western  front  of  the  building  in  such  a 
way  as  to  feel  that  this  vast  structure  is  insufficient  in  the  apparent 
massiveness  of  its  basement.  It  is  only  by  that  effort  of  the  mind 
which  puts  this  and  that  together  and  associates  memory  with  the 
impression  of  the  moment  that  one  is  able  to  feel  the  incongruity 
which  has  been  suggested. 

In  the  St.  James  Building,  recently  erected  at  the  corner  of 
Broadway  and  West  26th  street,  the  up-town  office  building  of  mod- 
ern New  York,  with  its  singular  classification  of  occupants  has  been 
undertaken.  These  structures,  which  are  of  the  present  decade  al- 
most exclusively,  afford  shelter  to  but  few  if  any  lawyers,  and  but 
rarely  furnish  the  principal  offices  of  important  companies  and  busi- 
ness associations.  The  architects  are  in  them,  of  course,  for  nearly 
all  the  New  York  architects  have  left  the  commercial  and  banking 
centre  of  the  city.  Many  engineers  are  here,  many  agencies  for 
theatrical,  musical  and  literary  undertakings,  and  many  of  that  class 
of  tradesmen  to  which  does  not  of  necessity  appertain  large  stocks 


FIG.  5.— ST.  JAMES’  BUILDING. 

S.  W.  Corner  Broadway  and  26th  St.,  New  York  City.  Bruce  Price,  Architect. 


14 


THE  ARCHITECTURAL  RECORD. 


of  goods  and  great  warehouses.  There  is  now  in  Broadway  an  al- 
most continuous  array  of  such  newly  built  office  buildings,  from 
City  Hall  Park  to  about  34th  street,  at  which  point  they  disappear 
among  the  lofty  modern  hotels  and  apartment  houses.  Nowhere 
in  the  stretch  of  three  miles  reaching  northward  of  the  group  of 
down-town  buildings  proper,  the  real  “sky-scrapers,”  are  there  any 
very  lofty  business  buildings,  and  this  newly  built  St.  James  Build- 
ing is,  perhaps,  as  high  as  any,  sixteen  stories  above  the  sidewalk. 
Here  there  is  no  such  cost  and  elaboration  as  in  the  Surety  Com- 
pany’s building,  but  a study  of  the  requirements  and  of  the  possible 
means  of  architectural  treatment  almost  equal  in  interest,  though 
not  so  happy  in  result.  This  building  has  a front  on  Broadway  of 
nearly  ninety  feet  and  is  twenty  feet  wider  on  the  side  street.  The 
shape  of  the  lot  is  even  more  irregular  than  that  on  which  the 
Surety  Buidding  stands,  as  the  angle  which  Broadway  makes  with 
the  cross  streets  is  very  oblique.  In  this  case  it  seems  to  have  been 
impracticable  to  treat  the  side  wall  and  the  rear  wall  in  any  way  at 
all  corresponding  with  the  two  street  fronts.  This  is  to  be  regretted, 
but  the  architect's  strong  feeling  for  that  unity  of  treatment  which 
is  generally  so  entirely  disregarded  has  urged  him  to  give  to  those 
walls  of  the  building  which  are  not  the  street  fronts,  a treatment 
which  will  in  some  measure  recall  the  architecture  of  the  street 
fronts  and  unite  them  all  four  together  as  parts  of  the  same  compo- 
sition. It  is  peculiarly  to  be  regretted  that  the  westerly  wall  whose 
windows  look  out  toward  the  North  River  and  over  the  roof  of  the 
chancel  of  Trinity  Chapel,  could  not  be  treated  in  a way  more  fitly 
to  complete  the  structure,  because  it  may  well  be  believed  that  the 
admirable  church  which  we  have  named,  large  and  costly  in  spite 
of  its  humble  appellation,  will  not  be  removed  in  our  time,  and  be- 
cause so  long  as  it  remains  this  front  of  the  St.  James  Building  will 
be  seen  from  base  to  summit. 

The  near  neighborhood  of  the  almost  adjacent  building  on  Broad- 
way, less  high  but  still  very  lofty,  prevents  the  southerly  wall  from 
being  very  much  seen. 

The  attempt  has  been  in  the  two  facades  of  this  building  to  treat 
by  means  of  color  that  which  in  the  Surety  Building  was  achieved 
altogether  by  relief  of  surface  upon  surface.  The  horizontal  and 
vertical  are  marked  alike  by  the  contrast  in  color  between  red  brick 
and  light  colored  terra  cotta.  As  the  building  is  only  sixteen  stories 
high,  or,  perhaps,  fifty  feet  less  lofty  than  the  Surety  Building, 
while  at  the  same  time  it  is  broader  on  every  side  and  much  broader 
in  at  least  one  direction,  the  tower-like  character  is  much  less 
strongly  emphasized  in  the  design,  and  rightly  so.  At  the  same 
time,  the  general  treatment  of  the  larger  part  of  the  whole— ten  sto- 
ries in  the  present  case — as  the  main  wall  with  uniform  windows 


THE  WORKS  OF  BRUCE  PRICE. 


15 


arranged  in  uniform  groups  of  two  and  divided  by  brick  piers,  gives 
to  the  whole  mass  the  more  general  character  of  the  triple  composi- 
tion of  a basement,  a lofty  shaft,  and  the  superstructure,  or  crown. 
The  building  suffers  in  comparison  with  the  Surety  from  having 


FIG.  6.— PROPOSED  BRUNSWICK  HOTEL. 

Oth  Ave.  and  26th  St.,  New  York  City.  Bruce  Price,  Architect. 


its  basement  far  less  dignified,  not  merely  that  the  much  less  elab- 
orate and  costly  treatment  has  forbidden  the  architectural  features 
of  the  older  and  loftier  building,  but  that  the  insertion  of  the  feeble 
round-arched  coupled  windows  of  the  story  above  the  store  fronts 
increases  the  effect  of  weakness  given  by  the  store  fronts  themselves. 
It  is  one  of  the  most  difficult,  among  the  many  difficult  and  vexa- 


i6 


THE  ARCHITECTURAL  RECORD. 


FIG.  7.— PROPOSED  OFFICE  BUILDING. 

Lower  Broadway,  New  York  City.  Bruce  Price,  Architect. 


tious  problems  given  the  modern  architect,  that  he  has  to  insert 
these  incongruous  features,  out  of  scale  with  everything  else,  into 
his  ground  story  and  thus  to  defer  to  the  demands  of  retail  trade  to 
the  extent  of  destroying  all  the  massiveness  of  his  front  where  mas- 
siveness is  most  needed.  The  problem  is  how  to  overcome  this  and 
how  to  make  the  building  seem  to  be  adequately  supported  when  it 
rests  on  a few  piers. 

If,  indeed,  the  steel  cage  construction  were  made  visible,  not  by 
exposing  the  metal  to  the  weather  and  to  the  chances  of  injury 
from  fire,  but  by  treating  as  piers  only  those  uprights  which  are 
really  piers  of  constructive  necessity,  then,  indeed,  the  problem 
would  be,  if  difficult,  still  not  hopeless.  Awkwardness  there  might 


THE  WORKS  OF  BRUCE  PRICE. 


1 7 


still  be,  and  the  necessity  of  forcing  upon  the  lovers  of  architecture 
a new  basis  for  their  ideas  of  proportion  in  that  the  number  of  low 
openings  would  be  accompanied  by  openings  much  smaller  in  scale 
and  much  more  numerous  immediately  above.  It  would  still  be  a 
difficult,  and  a doubtful  task  that  the  architect  would  have  before 
him,  but  it  would  not  be  quite  so  hopeless  as  it  is  now  when  he  is 
compelled  to  force  something  of  the  old  massiveness  of  effect  when 
there  is  no  massiveness  of  structure.  If  slender  metal  uprights  can 
be  set  so  very  far  apart  the  public  of  shopkeepers  who 
desire  above  all  things  a “store  front”  which  will  be  attractive 
and 'will  afford  abundant  window  space  to  show  their  wares,  are  not 
to  be  deceived.  They  will  insist  upon,  and  they  will  have,  the  huge 
glass  fronts  for  which  they  pay  their  money.  In  considering,  there- 
fore, the  basement  of  this  structure  it  is  not  necessary  to  state  the 
fact  that  it  lacks  apparent  massiveness  because  the  presence  of  two 
store-fronts  explains  that  at  once,  and  the  architectural  treatment 
in  such  cases  is  always  supposed  to  begin  with  the  story  above  the 
store-fronts.  They  are  treated  as  if  non-existent,  and  in  the  air 
above  them  floats  the  architectural  design  with  nothing  but  narrow 
vertical  strips  to  .tie  it  to  the  sidewalk.  There  has  been  nothing 
particular  done  in  this. case  to  overcome  the  difficulty  and  to  restore 
the  architectural  character  which  the  glass  basement  wall  destroys ; 
but  this  ought  to  have  surprised  no  one,  although,  indeed,  there  are 
four  or  five  instances  of  buildings  erected  during  the  last  six  or 
seven  years  in  which  a better  treatment  has  been  found  possible. 
It  is  true  that  no  one  of  these  buildings  is  so  lofty ; but  that  does 
not  seem  to  affect  the  question  very  much,  and  something  might 
have  been  done  more  efficacious  than  that  which  was  resorted  to  in 
this  case. 

There  is  still  to  be  considered  the  manner  in  which  the  crowning 
feature  of  the  building — that  is  to  say,  the  uppermost  block  or  mass 
formed  by  four  stories  within,  and  outwardly  by  an  arcade  with 
bay-windows  underneath  the  arches,  and  a row  of  small  square 
windows  in  the  frieze  above  the  arches — there  is  need  to  consider 
how  far  this  decoration  is  appropriate.  If  the  screen  of  columns  in 
the  Surety  Building  seems  out  of  place,  in  view  of  the  fact  that  the 
building  is  not  a columnar  structure,  having  merely  a portico  of 
columns  added  for  its  further  adornment,  in  its  basement  story,  and 
on  one  side  only,  the  use  in  the  present  case  of  a lofty  arcade  with 
elaborate  columns  of  modified  Ionic  style,  the  columns  themselves 
having  more  than  two  stories  of  the  building  in  their  height,  the 
whole  arcade,  including  three  stories,  must  seem  a feature  difficult 
to  reconcile  with  the  tranquillity  and  purposeful  character  or  the 
design  of  the  walls  and  their  openings  below.  The  great  cornice 
which  finishes  the  building  and  dominates  it  finely  is  in  itself  a cred- 

O 


i8 


THE  ARCHITECTURAL  RECORD. 


itable  design,  and  this  system,  the  resting  of  the  whole  series  of 
bands  and  string-courses  which  are  used  as  the  equivalent  of  cor- 
nice and  frieze  in  the  classical  entablature,  upon  a pierced  archi- 
trave— a banding  composed  of  square  windows  alternating  with 
formal  piers,  but  evidently  intended  to  be  the  architrave  of  the  en- 
tablature— all  this  is  excellent.  This  whole  entablature  is,  it  may 
be  assumed,  twenty-two  feet  high,,  or  about  one-eleventh  of  the 
whole  height  of  the  building.  How  fine  the  building  might  have 
been  if  the  unbroken  series  of  square  windows  in  a wall  treated 
with  two  colors  in  agreeably  and  skillfully  managed  juxtaposition 
could  have  been  carried  up  to  the  beginning  of  this  great  final  en- 
tablature! It  is  not  well,  it  is  neither  fair  nor  judicious  to  suggest 
how  a building  might  have  been  differently  designed,  and  yet  no 
other  way  seems  to  suggest  itself  of  expressing  so  forcibly  the  en- 
tire irrelevancy  of  the  elaborated,  broken-up,  re-distributed  and 
arcaded  upper  member  of  the  building,  the  broad  band  forty  feet 
wide  or  high  and  interposed  between  the  simple  wall  and  the  simple 
and  vigorous  entablature.  The  comparative  feebleness  of  the  base- 
ment in  two  stories  it  is  easy  to  overlook,  partly  because  of  the 
enormous  difficulty  of  achieving  anything  good  in  this  basement 
and  partly  because,  nearly  unseen  as  it  is,  in  connection  with  the 
general  mass,  it  will  not  tell  very  much  on  the  general  character 
of  the  building,  but  the  upper  stories  are  lifted  just  high  enough 
above  the  surrounding  buildings  to  be  seen  freely  from  Madison 
square,  from  the  Triangle  below  Twenty-fifth  street,  from  Fifth 
avenue  and  from  Broadway.1 

A much  larger  and  loftier  building  is  in  hand  as  these  words  are 
written.  In  the  design  for  that  building  Mr.  Price  has  carried  out 
a scheme  of  chromatic  decoration  far  more  elaborate  than  the  one 
shown  in  the  St.  James  Building.  A system  of  gradation  of  color 
has  been  elaborated  which  allows  of  a changing  and  culminating 
chromatic  effect  reaching  through,  perhaps,  three  hundred  and 
fifty  feet  of  vertical  height.  Fig.  7. 

Of  buildings  whose  design  is,  in  a sense,  antique  in  character, 
aiming  at  simplicity  and  directness  rather  than  elaboration,  and 
striving  to  reach  a certain  academic  propriety  rather  than  the  ex- 
pression of  construction  or  utilitarian  purpose,  perhaps  the  most 
notable  is  the  house  of  Mr.  English,  at  New  Haven  (Fig.  10).  The 
main  front  of  this  house  is  singularly  interesting  in  design  in  that 
the  principal  doorway  is  relegated  to  a position  at  the  extreme  left 
hand  and  to  a wing  of  no  comparative  importance  in  size  or  posi- 
tion. A porch  with  a terrace  upon  it  marks  this  principal  entrance, 
and  is  repeated  by  a square  veranda  or  loggia  at  the  other  end  car- 
rying a similar  terrace.  The  centre  of  the  composition,  then,  is 
left  for  a broad  and  square  feature  like  a bay-window  of  very  slight 


FIG.  10.— RESIDENCE  OF  HENRY  F.  ENGLISH. 


20 


THE  ARCHITECTURAL  RECORD. 


FIG.  II. -RESIDENCE  OF  GEO.  S.  SCOTT. 

Newport,  R.  I. 


projection,  two  stories  high  and  having  its  own  entablature  beneath 
the  windows  of  the  third  story.  There  is  in  all  such  designs  a cer- 
tain anomaly  in  this,  that  the  principal  rooms  are  inevitably  on  the 
ground  floor  in  these  suburban  houses,  while  the  design  taken 
straight  from  Italy  has  the  piano  nobilc — the  story  next  above  the 
ground  story — which  with  the  Italians  means  rooms  of  state  and 
with  us  means  bedrooms.  Apart  from  that,  and  considering  the 
design  as  an  architectural  composition  only,  there  is  great  skill  and 
good  taste  shown  in  the  management  of  the  order  forming  the 
centre  of  the  building  and  enclosing  three  large  windows.  It  will 
be  observed  that  there  are  but  four  pilasters  in  this  order,  while  the 
two  corners  of  the  flat  bay-window  serve  as  further  upright  sup- 
porting members,  and  the  entablature  is  accommodated  in  height 
and  in  design  to  the  whole  front  of  the  bay,  as  if  the  order  had  in- 
cluded six  pilasters  instead  of  four.  This  is  a very  agreeable  front, 
and  from  the  placing  of  the  house  among  its  trees,  it  is  more  per- 
fectly presented  by  a front  view,  a fagade,  as  we  would  say  in  cities, 
than  most  suburban  houses  can  be.  The  Scott  residence,  at  Newport, 
Fig.  li,  is  similar  in  character  and  marked  by  tire  peculiarity  that  its 
front  entrance,  though  extremely  elaborate  and  forming  an  import- 
ant feature  in  the  main  wall,  instead  of  being  placed  in  a wing,  is 
not  in  the  middle  of  the  wall,  but  well  at  one  side.  This,  which  is, 
of  course,  inevitable  in  house  planning,  is  still  to  be  noted  as  a pecu- 
liarity of  the  classical  designs  of  Mr.  Price.  Not  only  is  he  willing 
to  place  his  central  features  very  much  out  of  centre,  but  he  is  suc- 
cessful in  doing  so. 


THE  WORKS  OF  BRUCE  PRICE. 


21 


PIG.  TJ  — NEW  HAVEN  COLONY  HISTORICAL  SOCIETY’S  BUILDING. 
New  Haven,  Conn. 


1 he  house  of  the  New  Haven  Colony  Historical  Society,  Fig.  12, 
is,  so  far  as  its  exterior  goes,  a dwelling  house  of  stately  propor- 
tions. There  is  a curious  piece  of  delicate  feeling  seen  in  the 
arrangement  of  the  triple  window  above  the  doorway.  This  being 
of  necessity  narrower  than  the  similar  window  which  adjoins  it  on 
the  same  story  has  yet,  in  the  opinion  of  the  architect,  to  be  made 
more  prominent  as  coming  over  the  doorway ; and  accordingly 
he  gives  it  Ionic  pilasters  of  doubtful  classical  propriety  but  of  ex- 
cellent effect,  whereas  the  larger  window  has  merely  the  brick 


FIG.  13.— RESIDENCE  OF  JUDGE  HORACE  RUSSELL. 


THE  WORKS  OF  BRUCE  PRICE. 


23 


jambs  to  mark  its  outside  limits.  The  quintuple  window  on  the 
ground  floor  is  a very  pleasant  modification  of  the  ordinary  “Vene- 
tian window,”  and  suggests  a most  agreeable  room  within.  The 
Russell  house,  at  Southampton,  Long  Island,  is  another  design  ir 
a quasi-classical  style.  Its  details  cannot  well  be  judged  from  the 
picture  we  have  before  us,  Fig.  13,  but  the  order  of  the  verandas  is 
everywhere  a modified  and  florid  Ionic.  Where  there  is  so  very 
much  of  this  order,  and  where  it  is  impossible  to  reduce  it  to  a regu- 
lar system  of  intercolumniation,  it  may,  perhaps,  be  wiser  to  aban- 
don altogether  the  classical  form  for  each  separate  column.  The 
difficulty  is  great,  although  probably  not  insuperable,  of  so  modi- 
fying these  classical  forms  that  the  columns  may  aid  one  another 
and  produce  an  agreeable  effect  as  of  a great  colonnade,  while  still 
they  are  very  irregular  and  unacademic  in  their  disposition.  This 
large  and  stately  house  is  most  agreeable  in  general  effect  and  is 
appropriate  and  simple  in  design. 

The  great  house  of  Mr.  George  Gould,  at  Lakewood  in  the  Pines, 
New  Jersey,  can  hardly  be  shown  by  any  illustration  that  we  can 
give  here.  It  is  so  lost  among  the  tree  trunks  that  a general  photo- 
graphic view  seems  impracticable.  (For  Illustration  see  last 
pages  of  this  magazine.)  This  treatment  of  classical  orders 
in  an  extremely  free  and  easy  way  suggests  the  XVIII. 
century  styles,  the  architecture  of  Louis  XV.  in  France 
and  the  contemporary  buildings  in  Germany.  These  same 
late  post-Renaissance  styles  have  received  more  abuse  and  less 
sympathetic  praise  than  their  merits  deserve.  There  is  plenty  of 
bad  taste  in  the  German,  Bohemian  and  Austrian  varieties  of  it, 
and  it  may  be  that  the  Dutch  showed  great  good  sense  in  almost 
abandoning  the  large  order  as  part  of  the  design  of  their  simpler 
and  smaller  structures,  but  as  these  bold  innovations  were  treated 
in  France  they  were  full  of  interest  and  charm.  There  is  much  of 
that  same  charm  in  the  design  before  us.  The  reader  is  to  under- 
stand that  the  house  is  not  of  one  color  alone.  The  pilasters  are  of 
creamy  white  terra  cotta,  and  the  brick  quoins  upon  which  the  pil- 
asters are  based  are  of  brick  of  nearly  the  same  color,  while  the 
large  panels  of  the  wall  are  covered  with  cement  and  colored  a kind 
of  greenish  gray  in  much  sympathy  with  the  tree  trunks  and  the 
subdued  light  beneath  the  foliage.  This  building,  then,  though 
modern  classic  in  its  main  scheme,  is  eminently  picturesque  in 
treatment,  both  in  form  and  color.  The  interior  of  this  house 
has  been  managed  by  the  architect  throughout.  So  have  the 
grounds.  The  pergola,  or  shaded  and  embowered  walk,  is  most 
attractive. 

It  seems  hardly  possible  to  abandon  the  consideration  of  this 
semi-classic  side  of  Mr.  Price’s  work  without  considering  for  a 


24 


THE  ARCHITECTURAL  RECORD. 


moment  the  singularly  effective  design  made  by  him  for  the  Audit- 
orium in  Baltimore,  Fig.  14.  The  massive  campanile,  two  hundred  and 
twenty-four  feet  high  to  the  top  of  the  winged  figure,  reminds  one 
disagreeably  of  the  Madison  Square  Garden  tower  and  of  its  pro- 
totype, the  great  tower  at  Seville.  It  would  be  generally  preferred 
to  the  tower  which  is  praised  highly  in  this  article  as  part  of  the 
Home  in  Westchester  County,  N.  Y.  Perhaps  the  comparative 
merit  of  the  two  could  only  be  judged  of  in  execution.  The  front  of 
the  building  proper,  with  its  florid  ornamentation  in  late  post- 
Renaissance  forms,  will  be  to  everyone  who  loves  these  freer  and 
more  fantastic  and  later  styles  a charming  composition.  The  only 
criticism  which  can  be  made  of  it  by  one  who  is  not  considering  the 
plans  or  the  connection  of  this  exterior  with  the  necessary  uses  of 
the  building,  is  that  a very  high  order  of  talent  would  be  required 
and  great  expense  incurred  for  the  proper  carrying  out  of  its 
sculptured  detail.  Nothing  but  the  finest  and  the  richest  work 
would  suffice,  and  the  attempt  to  “skin”  this  particular  job  would 


be  ruinous  to  the  design  and  to  the 
effect  of  the  exterior.  It  is  prob- 
able that  a further  consideration 
of  the  exterior  would  end  in  the 
bringing  a part  of  the  sculpture 
down  to  a lower  level.  As  it  now 
stands,  there  is  a painful  lack  of 
decorative  work  about  the  base- 
ment and  the  lower  part  of  the  prin- 
cipal story,  while  the  upper  part 
of  that  principal  story  is  thickly 
set  with  elaborate  ornamentation. 


rtn 


$ 8 5 


IS"' 


m mu  m 

""  m m 


FIG.  14.— THE  AUDITORIUM. 


Baltimore,  Md. 


THE  WORKS  OF  BRUCE  PRICE. 


25 


Fig.  15  shows  the  memorial  to  the  late  Richard  Morris  Hunt, which 
was  undertaken  by  the  Municipal  Art  Society,  and  which  decorates 
the  west  side  of  Fifth  avenue  where  the  low  wall  of  Central  Park 
bounds  it,  at  a point  near  the  Metropolitan  Museum  of  Art.  Its 
plan  can  be  perfectly  well  understood  from  the  photograph.  A 
central  mass  marked  on  the  principal  front  by  two  pilasters 
carrying  an  entablature  and  a low  attic  serves  as  background 
to  the  high  pedestal  upon  which  is  placed  the  memorial  bust 
which  has  been  modeled  by  Daniel  C.  French.  On  either  side 
of  this  central  mass  are  two  slightly  curved  and  slightly  projecting 
wings,  the  whole  forming  a monumental  screen  for  an  exedra-seat 
and  terminating  on  either  side  in  a pier  boldly  advanced  beyond  the 
line  of  the  central  pier  and  adorned,  each  one,  by  a symbolic  statue, 
the  work  of  the  same  sculptor  who  has  modeled  the  bust.  The  two 
little  pieces  of  wall  with  coping,  not  flat  as  in  the  monument,  but 
cut  with  a wash  or  slope,  to  shed  water,  represent  the  Park  wall  of 
sandstone.  All  the  rest  of  the  structure  shown  in  the  photograph 
is  the  monument  to  be  erected  by  the  Municipal  Art  Society  by 
means  of  contributions  from  its  own  treasury  and  from  the  several 
art  societies  of  New  York  and  their  members.  The  names  of  those 
societies  are  inscribed  upon  the  slabs  which  are  set  between  the 
shafts  of  dark  marble.  Monuments  of  this  type  have  become  some- 
what numerous  in  Europe  of  late  years,  and  whenever  a similar 
memorial  is  undertaken  in  America,  some,  at  least,  of  the  designs 
offered  adopt  the  exedra  plan.  It  is  not  to  be  objected  to;  it  is,  on 
the  contrary,  a desirable,  a worthy,  a satisfactory  plan  when  it  com- 
bines well  as  a general  thing  with  a park  wall  and  the  trees  behind 
it,  as  in  this  instance,  with  the  partial  enclosure  of  a small  terrace, 
in  which  case  it  shows  two  sides  very  plainly,  one  toward  the  outer 
world  and  one  toward  that  limited  piece  of  ground  which  has  been 
taken  up  for  monumental  purposes ; and  also  where  between  two 
large  buildings  or  between  the  wings  and  pavilions  of  a single  one 
it  seems  to  form  part  of  a large  architectural  mass.  Differences  of 
treatment  result  inevitably  from  each  of  these  conditions.  More- 
over, the  exedra  plan  is  capable  of  immense  differences  in  the  char- 
acter of  the  design,  its  details,  etc.,  which  may  range  all  the  way 
from  the  extremely  bold,  unconventional,  unacademic  treatment  of 
the  Farragut  monument  in  Madison  Square,  the  work  of  Messrs. 
McKim,  Meade  & White  as  architects  and  Augustus  St.  Gaudens 
as  sculptor,  to  the  high  and  dry  classical  of  some  recent  German 
examples.  The  beauty  of  the  Farragut  exedra  is  known  to  almost 
evervone,  and  it  is  a beauty  which  depends  almost  wholly  upon  the 
superb  sculpture  in  relief  which  invests  it,  the  form  of  the  monu- 
ment being  unarchitectural  and  arranged  merely  to  display  the 
sculpture;  while  in  the  Hahnemann  monument,  of  which  the  sculp- 


THE  HUNT  MEMORIAL. 


THE  WORKS  OF  BRUCE  PRICE. 


27 

tures  and  the  main  design  of  the  structure  were  perfectly  shown  at 
the  late  exhibition  of  the  National  Sculpture  Society,  an  eminently 
architectural  treatment  was  adopted,  against  which  the  sculptor 
would  have  striven  in  vain  for  supremacy  but  for  the  magnificent 
energy  of  the  central  figure — the  seated  portrait  statue  by  Mr. 
Niehaus.  In  the  present  case  there  is  danger  that  the  sculpture  will 
be  a little  overweighted,  for  although  there  is  no  more  sagacious 
adapter  of  the  sculptor’s  art  to  the  exigencies  of  a building  than 
Mr.  French,  and  no  sculptor  more  able  or  more  accomplished,  both 
technically  and  as  a master  of  expression,  yet  the  emblematic  fig- 
ures are  slight  and  slender  and  the  bust  is  narrow  and  small  when 
compared  with  the  architectural  masses  behind  them.  If  now  these 
architectural  masses  were  parts  of  a building  having  a certain 
utility  of  its  own,  well!  Or  if,  on  the  other  hand,  they  expressed  an 
architectural  idea  and  were  in  themselves  a monument  requiring 
sculpture  only  to  adorn  it,  again  well!  The  more  one  studies  the 
present  model  the  more  it  is  forced  upon  him  that  there  is  too  much 
architecture  of  a purely  ornamental  sort  in  proportion  to  the  sculp- 
ture ; that  is  to  say,  not  too  much  architectural  treatment,  but  too 
much  mass  and  too  large  a building  to  carry  off  so  very  little 
sculpture.  This,  however,  is  criticism  based  upon  a confessedly 
higher  standard  than  that  which  it  is  generally  safe  to  apply  to 
modern  designs.  In  allowing  such  criticism  to  stand  one  is  obvi- 
ously recognizing  the  existence  of  a certain  harmony  between  the 
work  in  question  and  the  important  and  truly  artistic  works  of  the 
great  past. 

There  is  a large  class  of  buildings  erected  by  Mr.  Price  in  which 
the  French  architecture  of  the  early  part  of  the  XVI.  century  has 
been  used  with  great  freedom  and  intelligence.  To  make  this  state- 
ment of  itself;  to  say  that  seems  like  very  little  to  say  because  it 
would  appear  so  obvious  a course  to  pursue.  When  a modern 
architect  desires,  as  he  must  often  desire,  picturesqueness  of  treat- 
ment, and  that  endorsed  and  approved  by  excellent  authority  of  the 
past,  the  Renaissance  and  XVI.  century  France  would  seem  so 
obvious  a style,  time  and  place  to  which  to  have  recourse.  The 
tact,  however,  is  that  the  modern  designs  which  show  anything  like 
intelligent  study  of  that  important  class  of  buildings  have  been  so 
few  in  this  country  that  they  could  be  named  in  a few  lines  of  this 
print.  It  is  the  more  interesting,  therefore,  that  Mr.  Price  has 
undertaken  this  rehabilitation  of  the  Renaissance  forms  on  so  large 
a scale. 

The  hotel  known  by  the  name  of  Chateau  Frontenac  in  Quebec, 
Fig.  16,  is  undoubtedly  the  best  known  of  these  buildings  because, 
although  people  of  the  United  States  go  less  often  than  they  should 
during  their  summer  trips- to  the  romantic  and  picturesque  town  of 


THE  ARCHITECTURAL  RECORD. 


FIG.  10. — CHATEAU  FRONTENAC. 

Quebec,  Canada. 


Quebec,  the  building  itself  has  excited  interest  in  the  exhibitions  and 
in  the  architectural  publications  of  the  time.  Fig.  17  shows  the  ground 
plan  of  this  building.  The  principal  entrance  from  the  Place  d’Armes, 
in  which  is  the  double  carriage  drive  and  the  footway  separated  from 
the  carriage  drive  by  an  arcade,  is  seen  on  the  left,  in  Fig.  18,  and  in 
Fig.  19.  The  entrance  for  foot  passengers  from  the  Rue  des  Car- 
rieres  is  in  the  middle  of  the  picture.  It  is  to  be  noted  that  the 
requirement,  absolute  in  a hotel  building,  of  very  many  windows 
arranged  as  the  separate  rooms  and  apartments  make  necessary, 
and  not  according  to  any  abstract  idea  of  what  is  most  fitting  archi- 
tecturally, is  more  easy  to  manage  in  a style  similar  to  the  one  em- 
ployed in  this  case  than  it  would  be  in  any  other.  A design  strictly 
classical  in  the  original  sense  of  that  word  would  be  almost  im- 
practicable; the  irregularity  of  the  site  would  force  the  hand  of  the 
designer  continually  and  results  would  come  that  neither  he  nor 
the  student  of  his  work  would  enjoy.  On  the  other  hand,  anything 
like  Gothic  in  the  strict  sense  of  the  word  ; that  is  to  say,  a really  or- 
ganized design  of  French  XIII.  or  XIV.  century  style — would  be 
equally  impracticable,  because  there  would  be  no  opportunity  for 
those  lofty  vaulted  rooms  and  their  corresponding  windows,  without 
which  the  true  Gothic  style,  although  capable  of  exquisite  effect 
in  small  buildings  in  cottage-like  masses,  in  porches,  and  the  like, 
cannot  lend  itself,  it  would  seem,  to  large  and  grandiose  composi- 
tions. In  mediieval  castles  or  monastic  buildings  of  anything  like 
the  size  and  pretence  of  the  Chateau  Frontenac  there  would  inev- 
itable be  many  vaulted  rooms  of  height  great  in  proportion  to  their 


O’ 


PLAN  OF  CHATEAU  FRONTENAQ. 


FIG.  18— CHATEAU  FRONTENAC. 


THE  WORKS  OF  BRUCE  PRICE. 


31 


horizontal  dimensions,  and  also  vaulted  cloisters  and  the  like,  nor 
can  we  imagine  a building  being  otherwise  than  feeble  and  mean- 
ingless if  the  details  of  French,  or  English,  or  Spanish  Gothic 
should  be  forced  into  service  in  an  association  so  foreign  from  their 
original  and  legitimate  use.  But  the  French  Renaissance  style  of 
the  early  days  is  “ready-made”  to  our  hand,  nor  does  one  need  to 
go  away  from  the  existing  chateaux  of  the  Loire  and  its  near 
neighborhood  for  perfect  examples  of  all  that  he  can  need  to  begin 
a successful  study  of  that  style.  Thus,  in  the  building  before  us, 
although  it  is  very  nearly  devoid  of  architectural  ornament,  there 


FIG.  19.— COURT  ENTRANCE  TO  CHATEAU  FRONTENAC. 
Quebec,  Canada. 


is  still  a character  given  it  by  the  lofty  dormer  windows  and  chim- 
neys relieved  against  the  steep  roofs,  by  the  turrets  corbelled  out 
from  the  angles,  by  the  towers  rising  from  the  foundation  and  af- 
fording a reminiscence  of  the  military  buildings  which  the  Renais- 
sance castles  succeeded  and  imitated,  by  the  fenestration  in  so  far 
as  it  is  limited  to  square-headed  windows  in  couples  or  in  groups 
of  three  or  five  with  slender  piers  between  them,  seeming  almost 
like  mullions,  and  more  than  all  by  the  few  and  simple  pieces  of 
more  elaborate  decoration  such  as  are  introduced  at  the  entrance 
doorways,  the  major  and  the  minor — all  combining  to  make  a very 
effective  exterior,  at  once  suitable  to  the  occasion  and  pleasantly 


32 


THE  ARCHITECTURAL  RECORD. 


suggestive  of  still  finer  things  of  old.  The  inevitable  lack  of  mass- 
ive, unbroken  wall  and  the  too  great  abundance  of  windows  injure 
the  design  less  than  might  be  supposed,  and  it  is  only  where  an 
entirely  false  and  foreign  motive  is  introduced,  as  in  the  continu- 
ous row  of  small  round-headed  windows  between  two  of  the  great 


PIG.  20.— ENTRANCE  TO  THE  COURT,  CHATEAU  FRONTENAC. 
Quebec,  Canada. 


piers,  that  a serious  blot  is  felt  to  exist.  The  reader  is  to  remember 
that  this  is  a building  erected  for  commercial  purposes  and  to  pro- 
duce as  much  rental  as  possible.  We  are  treating  it  as  such.  It 
would  be  absurd  to  compare  it  with  a building  upon  which  archi- 
tectural adornment  could  be  lavished. 


FIG.  21.— CHATEAU  FRONTENAC. 


34 


THE  ARCHITECTURAL  RECORD. 


Figs.  20  and  21  give  views  from  the  courtyard  of  this  interesting- 
structure,  and  illustrate  the  important  modern  notion  of  a hotel  as 
well  as  anything  could.  If  it  were  not  that  the  amount  of  space  al- 
lowed each  lodger  in  these  costly  buildings  tended  continually  to  be- 
come less  and  less  sufficient,  there  would  be  nothing  but  satisfaction 
in  the  march  of  improvement  in  this  direction.  The  interior  of  the 
building,  its  parlors,  halls,  corridors  and  the  rest,  is  nearly  every- 
where in  keeping  with  the  exterior.  It  is  with  great  pleasure  that 
one  finds  the  drawing-rooms,  as  well  as  the  halls  and  passages 
treated  in  one  style,  and  that  the  same  style  which  is  used  tor  the 
exterior  of  the  building.  To  find  that  he  has  escaped  from  the 
usual  programme  of  the  Moorish  room,  the  Louis  Quinze  room, 
and  the  rest  of  them,  is  a great  relief  to  the  wearied  traveler. 

The  hotel  at  Montreal,  shown  in  Fig.  22,  is  to  have  the  excellent 
feature  of  an  enclosed  and  covered  winter  garden  which  can  be 
opened  to  the  weather  during  the  brief  but  hot  Canadian  summer. 
Attention  should  be  given  to  the  simple  and  convenient  arrange- 
ment by  which  the  ladies  have  one  wing  all  to  themselves,  with 
their  own  entrance,  while  the  men  have  the  other,  the  right-hand 
wing,  also  with  an  entrance.  The  office,  news-stand,  the  stairs  and 
elevators,  and  finally  the  entrance  to  the  great  dining-room,  are 
between  the  two  wings  and  are  convenient  to  all.  Overhead,  the 
ball-room  occupies  the  space  represented  below  by  the  dining- 
room, and  special  supper-room,  service-room  and  dumb-waiters 
are  connected  with  it,  besides  very  considerable  space  for  ladies’ 
and  gentlemen’s  dressing-rooms.  The  exterior  would  in  construc- 
tion prove  to  be  overcrowded  with  dormer-windows  and  corner 
turrets,  a fact  inevitable  under  the  circumstances.  Nor  would  the 
removal  of  the  corner  turrets  in  any  way  improve  the  situation,  for 
the  emphasis  of  these  angles  may  be  thought  absolutely  essential  to 
roofs  which  are  so  overburdened  with  breaks  in  their  plain  surfaces. 
Much  good  is  done  the  design  by  the  gathering  of  the  windows  up 
into  a central  mass  in  the  walls  of  each  of  the  wings  where  this  can 
be  allowed  because  of  the  abundant  opportunity  for  light  from  both 
sides. 

The  Royal  Victoria  College  at  Montreal  is  shown  in  Fig.  23. 
The  design  here  is  strongly  influenced  by  reminiscences  of  English 
Tudor  Gothic,  but  it  still  remains  on  the  whole  a Renaissance  de- 
sign, and  contrasts  only  in  an  agreeable  way  with  the  plan  we  have 
had  under  consideration.  1 he  treatment  of  small  turrets  as  bay  win- 
dows— which  turrets  in  the  XVI.  century  work  and  before  that  time 
were  always  staircases — is  something  which  has  to  be  accepted  in 
modern  planning  and  out  of  which  the  best  is  still  to  be  made.  If 
the  intelligent  architects  of  the  community  could  but  agree  on  a 
stvle  embracing  more  or  less  picturesqueness  and  variety  of  detail. 


THE  WORKS  OF  BRUCE  PRICE. 


35 


some  real  excellence  might  be  reached  in  the  way  of  the  contrast 
of  such  large  details  as  these  turrets  with  the  oriel  windows  cor- 
belled out  from  the  walls  and  bay-windows  rising  from  the  founda 
tion,  all  contrasting  with  the  larger  masses.  Little  by  little,  as  the 


community  grows  more  intelligent  with  regard  to  its  real  needs, 
work  in  cut-stone  may  be  expected  to  become  less  costly,  and  there 
is  a possible  future  for  architecture  of  the  simpler  sort,  architecture 
without  rich  sculptured  detail  and  drawing  its  charm  mainly  from 
the  play  of  light  and  shade  in  connection  with  effects  of  proportion 


■EAST  END  STATION  AND  HOTEL  PLACE  VIGOR. 


36 


THE  ARCHITECTURAL  RECORD. 


which  are  too  strongly  marked,  too  positive  to  fail  altogether.  Ex- 
treme refinements  of  design  can  hardly  be  characteristic  of  our  com- 
mercial work,  but  boldness  of  design  is  always  within  reach  of  able 
men. 

The  “East  End  Station"  at  Montreal  is  a building  of  the  same 
general  class  as  the  Frontenac  described  above.  It  is  curious  to 


see  how  the  introduction  of  an  arcade  without  capitals  and  bases 
for  its  piers,  and  without  other  marks  of  the  accepted  style  or  of 
any  style  can  be  endured  and  even  in  a sense  approved  in  this 
building,  whereas  elsewhere  it  seems  so  objectionable.  The 
significance  of  that  fact  is  that  it  is  the  basement  in  this  case  which 
is  treated  in  that  ultra-simple  way,  and  that  the  appearance  as  of  the 


Montreal.  Canada.  FIG.  23.— ROYAL  VICTORIA  COLLEGE. 

(McGill  University.) 


THE  WORKS  OF  BRUCE  PRICE. 


37 


massive  superstructure  perforce  opened  up  into  large  archways 
and  treated  as  plainly  as  possible,  that  it  may  keep  its  character  as 
of  a cellar  way,  allows  of  such  inexpressive  work  when  the  intro- 
duction of  a similar  motive  in  the  fifth  or  sixth  story  of  an  elaborate 
structure,  and  among  the  many  window-openings,  which  have  ol 
themselves  the  style  of  the  whole  building,  is  not  to  be  allowed. 
In  the  Montreal  station,  Fig.  24,  the  free  use  of  conical  groups  is 
notable,  and  the  fact  that  they  are  not  unsuccessful,  not  ugly,  not 
suggestive  of  what  the  English  public  profanely  calls  “pepper- 
boxes,” is  in  itself  a word  of  praise  for  the  design  of  which  they  form 
a part. 


FIG.  24.— WINDSOR  STREET  STATION,  CANADIAN  PACIFIC  RAILWAY. 
Montreal,  Canada. 


A similar  feeling  for  the  right  use  of  picturesque  architectural 
detail  is  shown  in  two  city  houses  where  there  is  no  opportunity 
for  anything  except  the  right  treatment  of  detail  in  due  combina- 
tion. The  house  No.  600  Madison  avenue,  and  that  at  No.  36  West 
56th  street,  both  in  New  York,  are  instances  of  this  class  of  build- 
ing. In  the  first-named  of  these,  Fig'.  25,  the  broad  oriel  window 
of  slight  projection  is  cased  with  copper  in  order  to  conform  by 
its  metallic  sheathing  with  the  fire-laws  of  the  city.  This  was  one 
of  the  earlier  instances  of  the  use,  which  has  become  more  familiar 
of  late,  of  metal  in  this  way,  but  a use  which  has  not  become  so 


38 


THE  ARCHITECTURAL  RECORD. 


general  as  it  might  be.  The  pleasant  suggestion  of  Dutch  post- 
and-lintel  architecture  in  the  piers  dividing  the  quintuple  window 
forming  the  fourth  story,  may  be  the  more  heartily  enjoyed  be- 
cause that  gives  to  these  stone  piers  a look  as  though  they  were 
wood,  and  in  this  way  diminishes  the  serious  fault  of  the  building. 
That  a very  long  lintel  carrying  these  four  piers,  which,  in  their 
turn,  carry  the  gable  above,  should  seem  to  be  of  stone  and  should 

rest  upon  what  seems,  archi- 
tecturally speaking,  a wholly  in- 
adequate support,  is  a bad  sole- 
cism ; but  take  it  for  a wooden 
framed  structure  and  all  is  well! 
The  modern  builder  knows  that 
there  are  iron  girders  behind 
all  this,  but  the  design  does 
not  acknowledge  this  ironwork 
and  insists  on  post-and-lintel 
composition  in  a place  where 
such  would  not  be  very  safe.  In 
all  respects  the  other  design  is 
better,  supposing  them  both  to 
be  carried  out  in  brick  and 
stone,  for  the  Madison  avenue 
house  would  be  charming  and, 
perhaps,  faultless,  if  translated 
into  timber.  In  the  56th  street 
house,  Fig.  26,  there  is  no  se- 
rious fault  to  be  found,  unless 
it  be  in  the  mere  choice  of  some 
of  the  sculptured  details,  and  the 
general  effect  of  the  picturesque 
and  spirited  front  to  enliven  the 
dull  street  is  most  delightful. 

Other  designs  which  have 
reached  a less  successful  issue 

Fig.  25,-No.  GOO  Madison  Ave.,  N.  Y.  City.  sh°W  the  Str°n&  disposition  of 

our  architect  to  treat  the  more 
picturesque  aspects  of  the  northern  Renaissance  styles.  One  such  is 
a most  interesting  study  of  detail  suggested  by  German  work  of  the 
XVI. century, and  although  that  is  not  the  purest  style  of  the  time, this 
design  for  a great  hotel,  since  built  in  another  style,  would  have 
been  an  admirable  thing  to  have  realized.  Even  buildings  with 
more  decidedly  classical  treatment  in  so  far  as  their  details  go,  are 
treated  with  an  unwonted  vigor  in  their  main  masses.  A house  at 
Springfield,  Massachusetts,  shown  in  Fig.  27,  is  one  such  design. 


THE  WORKS  OF  BRUCE  PRICE. 


39 


So  in  New  Haven,  the  Welch  Dormitory  of  Yale  College  is  as  pic- 
turesque as  may  be  in  its  rough  chimneys  and  dormers,  and  in  the 
general  outline  and  mass  of  the  building,  while  the  requirements 
as  of  a college  dormitory  restrain  it  in  detail  and  in  general  plan. 
Fig.  28  shows  the  street  front  of 
this  building  half  hidden  by  the 
great  elm  trees  which  make  the 
glory  of  New  Haven,  and  which 
even  in  winter  screen  the  college 
buildings  almost  unduly.  One  of 
the  most  marked  instances  of 
this  picturesque  treatment  of  a 
building  which  is  intended  to  be 
classical  in  general  character  is 
the  design  made  for  the  Home 
for  Aged  Gentlemen,  in  which  a 
very  effective  campanile  domin- 
ates the  long-drawn-out  frontage 
of  the  structure.  The  archi- 
tecture of  the  XVIII.  century  in 
Europe  was  not  as  rich  in 
towers  as  it  might  well  have  been 
when  we  consider  the  admirable 
results  attained  here  and  there ; 
and  no  tower  of  that  epoch,  nor 
any  of  classical  inspiration  any- 
where, seems  more  effective  in 
general  design  than  the  one 
shown  in  Fig.  29.  The  mere 
ability  to  handle  problems  in- 
volving vigor  of  effect  is  seen  in 
a smaller  and  less  costly  way  in 
the  several  designs  for  memorial 
towers.  Nothing  but  a slight  in- 
dication of  the  architect’s  pur- 
pose is  necessary  in  this  case. 

Detail  is  of  minor  importance, 
and  that  which  is  interesting  Fig.  20.— No.  30  west  50th  st..  n.  y.  City, 
about  the  designs  is  the  free 

treatment  as  of  something  vigorous  and  telling  when  seen  from 
a distance ; the  Greek  and  the  Mediaeval  styles  being  used  with 
equal  happiness  of  result  to  produce  the  effect  desired.  A church 
at  Salem,  Ohio,  indicates  very  strongly  this  same  tendency  toward 
the  forcible  in  design.  It  has  the  peculiarity  of  a very  large  square 
tower  erected  over  the  chancel  and  occupying  the  full  width  of  the 


FIG.  27.— RESIDENCE  OF  D.  B.  WESSON. 


THE  WORKS  OF  BRUCE  PRICE. 


41 


nave  while  yet  the  broad  roof  of  the  church  makes  no  distinction 
between  nave  and  aisles,  but  covers  all  with  its  low,  double  pitch. 
Under  these  circumstances,  the  tower  with  its  small  apse-like  tran- 
sept-arms to  north  and  to  south  involves  a certain  awkwardness 
in  combining  with  the  broad  main  roof,  but  this  is  forgotten  in  the 
generally  spirited  character  of  the  resulting  design.  The  railway 
station  at  Elizabeth,  New  Jersey,  illustrates  this  same  power  over 
the  picturesque,  both  by  what  it  is  and  by  what  it  has  failed  to  be; 
for  the  original  design,  which  it  is  interesting  to  compare  with  the 


FIG.  28.— WELCH  DORMITORY,  YALE  UNIVERSITY. 
New  Haven,  Conn. 


finished  work  as  shown  in  Fig.  30,  had  not  the  unbroken  shed  run- 
ning for  hundreds  of  feet  along  the  front,  but  had  the  main  roof 
separated  a little  from  this  by  a short  return  and  had  also  two  octag- 
onal towers  of  the  nature  of  dormer  windows  rising  out  of  this 
great  central  slope  of  roof,  one  on  either  side  of  the  high  tower.  It 
is  a mercy  that  the  batter  or  inward  slope  of  the  tower  was  allowed 
the  architect.  One  would  have  rather  anticipated  the  destruction 
of  this  element  of  effect  in  the  final  carrying  out  of  the  design. 
Country  houses  which  Mr.  Price  has  built,  especially  at  Tuxedo 
Park,  the  well-known  club  property  in  Rockland  County,  New 
York,  are  examples  of  this  natural,  this  in-born  tendency  toward  the 


4 2 


THE  ARCHITECTURAL  RECORD. 


vigorous  and  expressive  in  architectural  design  which  shows  alike 
in  every  style  of  architecture  which  the  designer  may  have  chosen 
to  employ.  Thus  the  club  house.  Fig.  31,  although  very  square  in  its 
forms,  and  with  but  little  detail  of  a striking  character,  is  yet  unusu- 
ally vigorous  in  its  effect,  and  the  student  will  do  well  to  note  how 
very  slightly  marked  are  the  features  by  which  this  unusual  character 
was  produced.  The  very  insisting  upon  the  square  and  box-like  char- 
acter of  the  main  pavilions  has  to  do 
with  this.  The  coupling  of  the  dormers 
in  the  larger  of  the  two  buildings, 
the  emphasizing  of  this  which  may 
be  called  the  central  mass  by  the 
curved  front  of  the  broad  pavilion  into 
which  the  verandah  is  expanded  at 
its  base,  the  fact  that  while  the 
basement  of  the  house  proper  is 
concealed,  the  verandah  is  supported  on 
the  massive  stone  wall  which  expresses 


FIG.  29— HOME  FOR  AGED  GENTLEMEN. 

Westchester  Co.,  New  York. 

the  idea  of  solidity  for  the  whole  building;  all  are  elements  of  the 
general  result.  So  in  the  small  building  arranged  for  the  office;  a 
well-known  element  of  picturesque  effect  in  the  German  houses  of  the 
seventeenth  century  is  used  here  effectively  and  without  destroying 
the  utility  of  the  stories  in  the  roof.  This  building  connected 
with  the  administration  of  Tuxedo  Park,  is  shown  in  Fig.  32. 
Near  Tuxedo  Park  is  also  the  village  row,  shown  in  Fig.  33,  in 
which  are  located  various  shops  and  the  postoffice  of  that  station. 
Especially  to  be  liked  is  the  absence  of  any  attempt  at  making  an 
order  of  the  square  pillars  which  support  the  overhang  and  the 


THE  WORKS  OF  BRUCE  PRICE. 


43 


FIG.  30.— STATION,  CENTRAL  R.  R.  OF  N.  J. 

Elizabeth,  N.  J. 

treatment  of  the  whole  as  a wooden  frame  structure  boxed  in  with 
sheathing  boards  and  shingles,  while  at  the  same  time,  something 
of  antique  simplicity  is  given  to  the  whole  design.  Even  the  gam- 


FIG.  31.— TUXEDO  CLUB  HOUSE. 
Tuxedo  Park,  New  York. 


j 


44 


THE  ARCHITECTURAL  RECORD. 


bril  roof  becomes  classical  when  it  is  handled  in  this  way,  and  that 
which  we  had  supposed  was  a hopelessly  cottage-like  effect  is 
shown  to  be  capable  of  treatment  in  a larger  and  more  stately  de- 
sign. Figs.  34  to  38  should  be  compared  with  one  another  as 
specimens  of  the  strenuous  or  vigorous  way  of  design  where  there 
is  present  no  recognized  style  such  as  has  come  down  to  us  from 
antiquity.  It  would  puzzle  the  most  skillful  student  of  classification  to 

say  to  what  style 
belong'  any  one  of 
these  five  designs 
we  are  consider- 
ing. To  one  who 
is  mainly  interest- 
ed in  finding  111 
modern,  especially 
in  American  archi- 
tecture, something 
strong  and  true, 
something  origi- 
nal because  true, 
something  which 
has  cried  out  tor 
expression  a n d 
which  seems  now, 
at  last,  to  find  it,  at 
least  in  part — to 
such  a student  of 
architecture  these 
designs  are  most 
welcome,  and  the 
regret  that  one 
feels  in  looking  at 
them  is  mainly  in 
this,  that  as  yet  no 
means  have  been  found  of  extending  this  simplicity,  this 
frankness,  this  readiness  of  adaptation  of  new  means  to  the  new 
needs  into  structures  larger  and  more  important.  It  is  not  in  Mr. 
Price’s  work  alone  that  this  readiness  of  adaptation  and  this  skill 
at  handling  new  problems  have  been  shown.  Other  architects,  who 
have  since  become  mere  slaves  to  the  Roman  colonnade  as  misrep- 
resented by  Vignola,  began  by  similar  work  in  which  was  shown 
similar  skill  and  energy  But  nowhere  in  the  work  of  any  architect 
of  the  time  has  this  adaptability,  bringing  with  it  true  originality  of 
design,  shown  itself  in  costly  city  buildings.  The  difficulty  of  doing 
so  is  prodigious.  No  one  can  doubt  that!  The  prejudices  to  be 


FIG.  32.— OFFICE  BUILDING. 
Tuxedo  Park,  New  York. 


FIG.  33.— POST-OFFICE  BLOCK. 

Tuxedo  Park,  New  Ycrk. 


Tuxedo  Park,  New  York. 


FIG.  34.— COTTAGE. 


FIG.  35. -COTTAGE,  NO.  2. 

Tuxedo  Park,  New  York. 


FIG.  3fi. — CLUB  HOUSE,  BACHELORS’  ANNEX. 
Tuxedo  Park,  New  York. 


FIG.  37.— JAPANESE  COTTAGE. 
Tuxedo  Park,  New  York. 


Tuxedo,  Park,  N.  Y. 


FIG.  38—  GATE  LODGE  AND  KEEP. 


48 


THE  ARCHITECTURAL  RECORD. 


FIG.  39.— RESIDENCE  OF  ADDISON  CAMMACK. 


Tuxedo  Park,  New  York. 

overcome,  the  facility  with  which  tradition  dominates  the  tradi- 
tional cut-stone  exterior,  whereas  it  is  powerless  against  the  box, 
wooden  country  house,  the  loud  demand  which  the  city  front  makes 
to  be  treated  like  a city  front,  and,  therefore,  like  the  faqades  of  Eu- 
ropean cities  in  the  seventeenth  century — all  these  are  difficulties  to 
overcome  which  would  require  an  almost  superhuman  resolution, 
and  would  tax  unusual  powers  of  invention.  We  have  seen  in  the 
pages  which  have  preceded  this  how  much  there  is  in  Mr.  Price’s 
costly  city  buildings  to  encourage  the  belief  that  such  inventiveness 
and  such  resolution  can  be  shown  even  in  the  huge  building  whose 
cost  is  counted  by  millions. 

To  return,  however,  to  the  Tuxedo  cottages;  if  the  reader  is  in- 
clined to  think  that  the  cottage  with  the  two  brick  chimneys  and  the 
round  arch  between  them  is  a little  violent  in  its  composition,  or 
that  the  cottage  with  the  stone  columns  carrying  a boxed  wooden 
superstructure  contains  incongruous  elements  not  quite  perfectly 
combined,  or  that  the  long  house  with  the  single  plain  roof  ending 
in  a semi-circular  apse-like  projection  is  a little  monotonous  and 
almost  affected  in  its  severity,  that  reader  is  not  so  much  to  blame. 
These  are  the  tendencies  from  which  he  who  tries  such  bold  ex- 
periments can  hardly  escape  altogether.  It  is  quite  evident  to  one 
who  has  watched  the  growth  of  design  at  any  epoch  that  the  man 
of  some  originality  will  try  many  experiments  before  he  succeeds 
perfectly  in  any  one.  This  will  be  tried  and  that  will  be  tried,  and 
many  persons  will  find  cause  of  disasters  to  their  prejudices  in  the 
results  of  experiment, because  these  are  the  persons  who  prefer  never 


THE  WORKS  OF  BRUCE  PRICE. 


49 


FIG.  40.— “ROCK-RIDGE.” 

Tuxedo  Park,  New  York. 

to  see  what  they  have  not  been  accustomed  to  see.  The  architects 
who  ask  for  an  immediate  popular  approval  of  their  design  do  well 
to  repeat  unchanged  the  recognized  forms  of  the  past.  It  is  little  to 
them  that  their  doing  so  tends  to  make  all  progress  in  architecture 
impossible  and  all  the  efforts  of  the  more  ambitious  men  vain.  They 
have  their  reward  in  pleasing  nine  of  the  passers-by  in  the  street, 
whereas  the  tenth  only  could  be  expected  to  look  with  some  respect 
and  some  curious  interest  at  a design  based  upon  novel  concep- 
tions. There  are  larger  houses  in  Tuxedo  Park  than  any  of  these, 
and  some  which  show  a certain  taste  for  the  old  Colonial,  but  even 
these  with  all  their  Georgian  characteristics  are  marked  by  the  same 
interest  in  the  picturesque  rather  than  in  the  traditional. 

The  residence  of  Mr.  W.  H.  Howard,  at  San  Mateo,  California,  is 


FIG.  41.— “TURTLE-POINT.” 
Tuxedo  Park,  New  York. 

4 


Tuxedo  Park,  New  York.  FIG,  42.— RESIDENCE  OF  T.  B.  BURNHAM. 


52 


THE  ARCHITECTURAL  RECORD. 


a vigorous  design  somewhat  suggested  by  the  well-known  “Nor- 
man Shaw  type,”  of  English  country  house;  Fig.  43.  The  house 
called  Springhurst,  at  Black  Rock,  Connecticut,  is  of  the  same  gen- 
eral character.  There  is  in  this  exterior  a mingling  of  American 
devices,  as  of  siding  with  cut  shingles  and  with  clapboards  treated 
in  various  ways,  and  of  the  more  formal  English  half-timbered  ga- 
ble. The  house  is  none  the  better  for  this  mixture  of  external  coat- 
ings, and  it  is,  of  course,  to  be  feared  that  the  “half  timbered  gable” 
is  not  'what  it  pretends  to  be.  A house  at  Morristown,  N.  J.,  Fig.  44, 
is  sincerely  ‘to  be  admired  if  the  timber  framing  of  the  upper  story  is 
genuine,  and  not  merely  an  effect  produced  by  nailing  boards  upon  a 
plastered  surface.  The  mind  is  apt  to  be  content  and  peaceful  in 
the  presence  of  a country  house  whose  main  mass,  like  this  one's, 
is  greatly  in  excess  of  and  which  controls  the  subordinate  parts.  If 
to  such  a large  and  unbroken  central  mass  there  be  added  refine- 
ment and  variety  of  detail,  as  here,  such  a house  is  one  of  the  more 


Morristown,  N.  J. 


agreeable  results  of  modern  architectural  design,  but,  of  course,  if 
the  effectiveness  of  that  overhang  and  of  that  strongly  emphasized 
cage  of  timber  is  produced  by  the  poor  pretense  to  which  allusion 
has  been  made  above,  the  apparently  successful  result  has  been  pro- 
cured at  a high  price.  The  residence  of  Mr.  G.  F.  Baker,  at  Mon- 
mouth Beach,  is  an  interesting  stud}’  of  a house  of  varied  outline 
and  most  irregular  fenestration,  with  porches  and  loggie  in  appa- 
rently unlimited  supply,  but  restrained  and  kept  within  bounds  by 
the  superposition  of  the  vast,  low-pitched  roof.  The  suburban 
house  of  Mr.  James  Ross,  at  Montreal.  Fig.  45,  must  be  named  as  an 
interesting  study  of  a small  chateau,  a villa,  as  perhaps  one  might  call 
it  by  stretching  the  term  a little,  a villa  in  the  French  Renaissance 
style.  Here  the  chimneys  are  where  they  ought  to  be,  reinforcing 
the  roof  without  marring  it,  throwing  its  lines  up  towards  the  sky 
and  emphasizing  the  ridge  which  they  do  not  destroy.  A large 
house  at  Tuxedo  Park,  known  by  the  name  of  Boulder  Point,  Fig. 42,. 


THE  WORKS  OF  BRUCE  PRICE. 


5.J) 


FIG.  45.— RESIDENCE  OF  JAMES  ROSS. 


Montreal,  Canada. 

has  been  'built  around  a great  natural  boulder,  as  it  were.  This  mass 
of  rock  lends  its  flattish  top  to  serve  as  a kind  of  balcony  at  the  en- 
trance, and  as  the  boulder  is  poised  upon  a ridge  of  rock  of  natural 
emphasis  and  a kind  of  picturesque  significance  of  its  own,  it  may 
have  been  well  to  try  to  give  to  the  house  itself  a look  as  or  natural 
formation.  It  is  probable,  however,  that  there  has  never  been  a 
successful  essay  of  this  kind,  and  that  architecture  is  better  as  it 
grows  more  decidedly  artificial.  Many  have  been  the  attempts  in 
our  own  recent  experience — attempts  to  make  small  houses,  at 
least,  look  like  accidental  piles  of  rough  stone,  but  they  never  suc- 
ceed altogether,  and  good  taste  is  generally  offended  by  the  attempt 
to  use  rough  natural  forms  in  combinations  of  man’s  devising.  The 
moment  man  alters  their  arrangement  they  cease  to  be  natural 
forms.  The  rough  stone,  as  it  lies  upon  a pile  of  its  fellows,  or  as  it 
is  found  surrounded  by  the  wild  herbage  of  the  pasture  is  a beau- 
tiful thing  and  one  which  the  lover  of  nature  and  the  artist  have 
a right  to  dispute  the  possession  of  one  with  the  other.  But  let 
the  architect  hoist  it  out  of  its  place  and  combine  it  with  other 
rough  stone  in  a portico  for  an  arcade,  and  the  virtue  has  gone  out 
of  it.  It  is  not  in  that  way  that  the  stones  of  the  field  are  meant  to 
be  used  by  the  builder.  More  interesting  are  the  houses  of  the  sim- 
ple American  cottage  type  with  gambril  roofs  and  low-pitched  roofs 
which  are  not  of  broken  pitch,  with  broad  verandahs  and  sheltered 
carriage  porches,  plain  square  windows  from  which  the  familiar 
and  friendly  green  blind  has  not  of  necessity  to  be  banished,  and 


54 


THE  ARCHITECTURAL  RECORD. 


chimneys  of  not  excessively  attenuated  form.  Such  a house  is  the 
Loomis  house  at  Ringwood,  N.  J.,  shown  in  Fig.  46.  Whether 
such  a house  strikes  you  as  beautiful  or  not,  depends  very  largely 
upon  the  standard  which  you  have  allowed  your  mind  to  shape  for 
itself.  Its  possible  beauty  of  proportion  is  a thing  which  will  be 
found  to  vary  immensely  with  the  point  of  view,  but  the  beauty  of 
propriety,  of  fitness  for  the  situation  and  for  the  purpose  to  which 
its  architectural  forms  are  applied  is  probably  not  to  be  lost  sight 
of  anywhere.  The  study  of  these  interesting  dwelling  houses  must 
include  mention  of  a house  in  the  Japanese  taste,  built  at  Tuxedo 
Park,  Fig.  37,  and  of  a similar  design  on  a larg'er  scale  made  for  a 


FIG.  46.— RESIDENCE  OF  MRS.  A.  L.  LOOMIS. 
Ringwood,  N.  J. 


house  which  has  since  been  built  in  a different  taste.  The  essential 
characteristics,  of  course,  are  the  curved  roof;  that  is  to  say.  the  roof 
strongly  marked  with  a hollow  curve  near  the  eaves.  This,  which 
has  a constructional  value  in  the  original  temple  buildings  of  the 
Japanese  and  which  echoes  the  verv  ancient  use  of  the  same  feature 
in  China,  is  a matter  of  experiment  for  the  principal  roof  and  the 
verandahs  of  an  American  house.  With  us  it  can  only  be  a matter 
of  picturesque  effect.  We  have  not  the  substructure  of  detached 
heavy  timbers  without  walls  forming  as  a part  of  the  structure, 
which  timbers  are  kept  in  place  by  the  superincumbent  mass  of  roof. 
With  11s  the  wall  is  the  more  massive  feature,  and  the  roof  but  keeps 
rain  and  sun  out  of  the  interior  of  our  apartments.  The  use  of  this 


THE  WORKS  OF  BRUCE  PRICE. 


55 


PIG.  47.— THE  HOTCHKISS  PREPARATORY  SCHOOL. 

Lakeville,  Conn. 

curved  roof,  together  with  the  peculiar  columnar  treatment  of  the 
verandahs,  is  not  a greater  deviation  from  the  Japanese  original 
type  than  is  our  treatment  of  the  Graeco-Roman  order  a deviation 
from  the  original  use,  the  original  associations,  of  that  important 
element  of  design.  It  may  well  be  that  the  west  coast  of  this  coun- 
try will  see  some  introduction  of  oriental  forms  into  its  domestic 
architecture,  and  although  now  it  cannot  be  considered  a welcome 
innovation,  able  designers  may  yet  make  something  of  it.  It  is 
not  that  which  is  the  most  certainly  expected  which  is  the  most 
likely  to  happen  in  architectural  progress  any  more  than  in  warfare. 

The  plan  of  the  exterior  of  the  Hotchkiss  school,  at  Lakeville, 
Connecticut,  is  interesting  to  anyone  who  cares  for  teaching  and 
the  organization  of  schools.  The  design  reduced  by  the  necessity 
of  keeping  down  the  outlay  to  a very  simple  and  domestic  pro- 
gramme, explains  itself  sufficiently  in  the  illustration,  Fig.  47.  The 
great  colleges  which  have  been  rearranging  their  buildings  lately 
would  have  been  wise  had  they  considered  the  convenience  of  pupils 
and  teachers  as  thoroughly  as  have  the  managers  of  this  school. 

Russc/t  Sturgis. 

o 


RESIDENCE  OF  T.  H.  TALMADGE. 

Moore’s  Pond,  N.  Y. 


KKISS  PREPARATORY  SCHOOL 
LAKEVILLE,  CONN. 


New  York  City.  RESIDENCE,  UPPER  FIFTH  AVENUE. 


OSBORN  MEMORIAL. 

New  Haven,  Conn.  (Yale  University.) 


RESIDENCE  OF  E.  P.  MITCHELL. 

Glen  Ridge,  N.  J. 


Black  Reck,  Conn. 


BLACK  ROCK  CHATEL 


DESIGN  FOR  THE  “SUN”  OFFICE  BUILDING. 
New  York  City. 


[T-r-'i 


DESIGN  FOR  A LIBRARY  ON  A CITY  BLOCK,  200x200. 


DESIGN  FOR  PEACE  MONUMENT  AND  ARCADE. 
New  York  City. 


Bar  Harbor,  Me. 


"THE  TURRETS.” 


! 


“THE  TURRETS.” 


Bar  Harbor,  Me. 


VIEW  OF  LIBRARY  IN  MR.  BRUCE  PRICE'S  OFFICES. 


THE  WORKS  OF  BRUCE  PRICE. 


65 


Ornament  over  Entrance  Door  of  the  Great  Hall  of  Georgian  Court. 

Residence  of  George  J.  Gould,  Esq.,  Lakewood,  N.  J.  Designed  by  Bruce  Price. 


A TALK  WITH  BRUCE  PRICE. 

IT  was  so  far  up  in  the  air  it  seemed  as  though  the  clouds  were  but 
a step  from  us.  From  the  windows  one  could  look  down  upon 
the  great  city  spread  out  all  around  one.  Buildings,  whose  lowest  stor- 
ies were  perfectly  familiar,  seemed  strange  and  out  of  place  when  their 
tops,  scarce  visible  in  the  narrow  streets,  were  now  clearly  seen. 
Nor  was  the  view  limited  to  the  tops  of  buildings;  the  apex  of  more 
than  one  church  tower  was  below  us.  Truly  it  was  an  ideal  location 
for  an  architect’s  office ; so  quiet,  so  inspiring,  so  far  from  the  noise 
and  bustle  of  the  city  at  one’s  feet.  And  yet  not  wholly  ideal ; for 
one  knows  well  that  architects  are  practical  men,  who  do  not  go 
around  the  world  with  their  heads  in  the  clouds.  The  office  was 
ideally  situated,  but  it  was  not  typical  of  the  practical  man,  the  archi- 
tect. 


Pergola  in  Grounds  of  Georgian  Court. 


66 


THE  ARCHITECTURAL  RECORD. 


It  was  an  agreeable  place  to  be,  and  I need  not  add  that  it  was 
the  business  home  of  a most  agreeable  man.  There  was  no  need 
to  begin  our  talk  with  interchanging  views  on  the  weather,  or  on 
golf,  or  other  general  topics,  on  any  one  of  which  I might  have  been 
sure  to  have  learned  a heap.  But  it  may  be  well  to  premise  that  my 
special  business  was  to  talk  with  Mr.  Price  about  his  own  work ; to 
get  him  to  tell  me,  and  those  to  whom  I might  tell  it,  what  was  his 
point  of  view  in  some  of  his  more  notable  undertakings,  to  tell  what 
he  really  thought  and  strove  for,  as  opposed  to  that  impersonal  view 
that  one,  not  unnaturally,  takes  in  considering  buildings  as  archi- 
tectural constructions.  So  we  plunged  directly  into  the  subject  of 
architecture,  which,  in  such  a place  and  with  such  a host,  needed  no 
introduction.  And,  indeed,  it  is  perfectly  natural  to  talk  art  with 
Mr.  Price,  for  his  personality  suggests  the  very  artistic  work  that 
has  given  him  fame  and  made  him  the  accomplished  architect  and 
cultured  man  of  the  world  he  is. 

The  Design  of  a Country  House. 

"Tell  me,  Mr.  Price,”  I asked,  "what  you  consider  the  first  thing 
for  the  architect  to  keep  in  mind  in  designing  a country  house?” 

"Not  going  in  opposition  to  nature,”  he  replied.  "It  is  too  fre- 
quently the  case  that  an  architect  will  insist  that  his  building  is  the 
chief  thing  in  a landscape  ; that  one  must  look  at  it  whether  he  wants 
to  or  not ; that  everything  must  make  way  for  it ; that  the  work  of 
man  must  surpass  in  visibleness  the  work  of  nature.  As  a matter 
•of  fact,  a house  is  but  part  of  a scene,  and  the  more  complete  the 
.scene,  the  more  naturally  the  house  is  adapted  to  its  surroundings, 
the  better  it  fits  into  the  landscape,  the  better  the  result-  It  is  not  a 
■matter  of  chance ; but  a matter  of  actuality,  readily  determined  and 
easy  to  see  in  advance  if  the  surroundings  are  properly  studied.  It 
is  so  easy  to  invent ; and  so  extremely  difficult  to  design." 

“How  is  that?”  I queried;  “what  do  you  mean  by  inventing  and 
designing?” 

"Why,”  came  the  reply,  “any  one  can  draw,  any  one  can  invent 
something.  But  designing  is  very  different.  Designing  is  the 
question  of  solution;  it  is  the  answer  to  the  questions:  Have 

you  solved  your  problem  properly?  Does  it  compose  with  the  site? 
Is  it  doing  what  nature  would  do  were  she  the  architect? 

“Not,”  he  added,  quickly,  “that  nature  makes  scenery  at  will;  she 
does  not  manufacture  it,  but  she  has  it.  And  the  architect  cannot 
ignore  that  fact  if  he  would  produce  an  agreeable,  successful,  artistic 
house.  Tone  is,  perhaps,  the  first  thing  to  be  considered,  the  tones 
that  dominate  in  nature.  The  tones  chosen  by  the  architect  may  be 
harmonies,  they  may  be  contrasts,  but  they  must  be  complements 
to  nature.  That  is  a fundamental  proposition  that  cannot,  I think 


THE  WORKS  OF  BRUCE  PRICE. 


67 


be  escaped  from.  Let  me  illustrate 
what  I mean  by  a definite  example. 
“The  Uplands,”  at  San  Mateo,  Cali- 
fornia, is  a house  so  placed  that  one 
can  look  from  its  windows  clear  across 
a hundred  miles  of  land  and  water. 
The  hills  among  which  it  is  built  are 
brown,  and  the  house  is  therefore 
brown.  Redwood  is  the  natural  wood 
of  the  country,  and  thus  it  was  natural 
to  use  it.  The  house  does  not  stand 
out  in  the  landscape,  but  fits  in  with 
it.  And  that  is  the  principle  that 
should  govern  the  design  of  every 
house. 

“Another  thing  to  be  considered  is 
the  configuration  of  the  landscape.  It 
is  too  often  the  case  that  a client,  own- 
ing a bit  of  hilly  land,  will  insist  that 
his  house  should  be  placed  on  its 
loftiest  point.  Yet  this  may  be  abso- 
lutely opposed  to  the  artistic  solution 
of  the  problem.  Take  “Windcap” 
house  on  Windcap  Mountain  near 
Tuxedo  ; that  will  explain  what  I mean 
as  well  as  any.  It  is  the  highest  moun- 
tain in  the  vicinity,  reaching  out  on  all 
sides  in  rather  gentle  undulations.  The 
summit  is  bare,  and  a house  placed 
there  would  be  merely  placed  and 
might  be  anything  at  all.  The  actual 
problem  was  not  to  place  a house  in  a 
particular  spot,' but  to  design  a house 
and  place  it  where  its  design  would  be 
in  entire  harmony  with  its  surround- 
ings, and  where,  instead  of  being- 
thrust  up  on  high  that  it  might  be  seen 
for  itself  alone,  it  would  form  a port- 
tion  of  the  landscape.  Accordingly  it 
was  not  built  on  the  summit  of  the 
mountain,  but  on  a bench  somewhat 
below  the  top,  and  designed  with  lines 
comporting  with  the  natural  outline. 
It  thus  becomes  a harmonious  part  of 
the  general  view,  the  occupant  loses 


Wrought  Iron  Lamp  Standard  for  Arc 
Lamps  in  Grounds  of  Georgian 
Court. 


68 


THE  ARCHITECTURAL  RECORD. 


nothing  by  having  a background  to  his  house,  his  view  is  still  as  fine, 
still  as  grand,  and  he  escapes  that  frightful  conspicuousness  that 
would  have  followed  from  building  on  the  summit,  and  that  still  more 
dreadful  obtrusiveness  that  would  have  resulted  from  a varied  out- 
line of  turrets  and  pinnacles,  where  every  part  would  be  swearing  at 
every  other  part,  and  the  whole  thing  an  obvious  importation  into  a 
view  in  which  everything  else  is  natural  and  harmonious. 

“I  cannot  but  think  that  too  often  this  important  principle  is 
neglected  in  designs  that  are  excellent  in  themselves,  well  studied, 
carefully  carried  out  and  admirably  designed  on  paper,  and  yet  have 
no  real  relationship  to  their  surroundings — designs  which  seem  more 
like  exotic  growths,  brought  to  a strange  place  and  set  up  for  the 
edification  of  the  curious  and  the  bewilderment  of  the  beholder. 
One  never,  in  looking  at  a house,  should  feel  like  asking,  ‘How  did 
it  come  here?’  One  should  never  feel  that  it  is  out  of  keeping  with 
its  surroundings.  That,  of  all  things,  is  what  I have  tried  to  avoid 
in  country  houses.  Lines  must  be  well  studied,  the  situation  must 
be  carefully  chosen,  the  colors  judiciously  applied.  Attention  to 
these  matters  is  really  of  more  importance  than  the  making  of  a 
design  that  looks  well  on  a sheet  of  paper. 

“It  should  be  remembered,  of  course,  that  in  speaking  of  harmo- 
nizing a design  with  nature  it  is  impossible  to  ignore  the  architect’s 
own  feelings  as  to  what  may  be  harmonious.  “The  Uplands” 
in  California  is  a brown  house  amid  brown  hills  and  has  a pointed 
roof ; and  not  a few  people  have  asked  me  why  a pointed  roof  in  a 
country  house  where  there  is  no  rain  or  snow?  My  reply  has  been 
that  to  me  a roof  has  no  reference  to  the  climate,  and  a pointed  roof 
especially  is  not  a device  solely  for  throwing  off  water  or  snow.  It 
seemed  to  me,  in  that  hilly  region,  a proper  covering  for  the  house, 
and  I endeavored  to  make  its  lines  harmonize  with  the  hills  against 
which  it  is  projected.  It  is  not  impossible  that  an  architect,  in  seeking 
an  effect  that  seems  to  him  harmonious  may  really  adopt  a device 
that,  considered  in  itself  and  apart  from  the  actual  solution,  may  be 
open  to  criticism.  A house  ought  to  be  made  to  conform  to  the  sur- 
rounding scenery,  but  the  actual  solution  must  depend  on  the  archi- 
tect’s view  of  what  harmony  is. 

“And  so,  getting  back  to  the  question  of  site,  it  has  always  seemed 
to  me  that  the  finest  of  all  sites  is  a bench  on  a hill  or  a mountain, 
with  a great  view  before  the  house,  and  a natural  background 
against  which  it  is  projected.  A succession  of  hills,  for  ex- 
ample, should  not  have  a series  of  houses  standing  out  like  so  many 
beacons  on  the  summit  of  each  elevation  ; but  the  best  effect  is  had 
when  the  house  has  its  own  natural  background.  One  or  two,  in  a 
series  of  houses  located  in  this  way  may,  indeed,  rise  up  in  whole  or 
in  part  above  the  projecting  background ; but  that  is  quite  different 


THE  WORKS  OF  BRUCE  PRICE. 


69 


from  perching  every  house  on  the  loftiest  site  possible.  Of  course, 
if  a client  will  not  be  otherwise  satisfied  but  insists  on  such  a location 
he  must  be  obeyed.  In  such  a case  a good  deal  of  help  is  obtained 
by  making  the  house  the  same  color  as  the  mountain.  A house 
should  not  be  made  to  be  seen ; that  is  quite  immaterial ; its  real 
function  is  to  be  seen  from.” 


The  Picturesque  in  Design. 


“What,”  I asked,  “are  the  elements  of  the  picturesque  in  design? 
You  have  spoken  of  houses  with  pinnacles  and  turrets,  and  these 
features  are  not  infrequently  looked  upon  as  the  leading  elements 
in  creating  a picturesque  design.  Is  that  true?  Is  the  picturesque 
obtained  by  deliberate  effect?” 

“Not  at  all.  Whatever  is  picturesque  in  a design  should  be  ac- 
complished by  the  exigencies  of  the  site  rather  than  deliberately 
made.  A picturesque  effect  should  be  the  last  thing  to  be  thought 
of ; that  idea  is  quite  opposed  to  what  I have  been  trying  to  show  is 
the  proper  method  of  house  designing,  attention  to  the  surround- 
ings. A picturesque  design  deliberately  made  is  best  compared  to 


the  burlesque  in 
acting.  A truly 
can  never  be  pro 
ly,  using  the  word 
artistic  sense.  It 
by  adding  part  to 
deliberate  design 
the  remarkably 
groups  one  finds 
houses.  There 
building  serves  a 
Each  member  of 
built  for  a definite 
frequently,  at  dif 
the  result  is  in 
esque,  beautiful 
It  is  true  we  some 
tate  this  result 
all  try ; we  really 
real  rule  is  never 
t h e architectural 
is  invariably  the 
the  Chateau  Fron 
treal,  for  exam 


Vase  and  Pedestal  in  Grounds  of 
Georgian  Court. 


literature  or  in 
picturesque  effect 
duced  deliberate- 
picturesque  in  its 
can  only  be  had 
part  and  without 
or  intent.  Take 
picturesque 
in  French  farm- 
each  separate 
specific  purpose, 
the  group  was 
end,  and,  very 
ferent  times.  Yet 
variably  pictur- 
and  interesting, 
times  try  to  imi- 
offhand ; but  it  is 
can’t  do  it.  The 
to  lose  sight  of 
solution,  and  that 
simplest  one.  In 
t e n a c at  Mon- 
p 1 e , the  design 


;o 


THE  ARCHITECTURAL  RECORD. 


Lantern  in  Vestibule  of 


Georgian  Court. 

sonally,  I like  to  design 
factory  results.” 


could  never  have  been  anything  else  than  it  is. 
One  did  not  have  to  bother  as  to  whether  it 
wouldlooksoandsoornot.  The  result  came  of 
itself.  There  is  the  quadrangle  or  court  sur- 
rounded by  buildings.  The  site  is  irregular 
and  at  varying  levels,  so  that  some  parts  of 
the  buildings  surrounding  the  court  are  three 
stories  higher  than  the  other  parts.  What- 
ever may  be  picturesque  in  the  design  is  a 
natural  result  of  the  natural  conditions.” 

“But  does  not,”  1 asked,  “this  careful  at- 
tention to  site  and  the  problems  arising  from 
it  entail  a great  deal  of  labor  and  expense  to 
the  architect?  Must  you  not  personally  visit 
each  site,  and  does  that  not  mean  that  the 
most  expensive  member  of  your  office,  to  wit, 
yourself,  must  consume  a great  deal  of  time 
in  traveling  and  inspecting  lands  and  solving- 
problems  that  cannot  be  done  in  your  draft- 
ing room?” 

“Yes,  that  is  true,  but  it  is  unavoidable  and 
indispensable.  The  architect  should  make 
himself  perfectly  and  personally  familiar  with 
all  the  surroundings  of  the  proposed  building 
and  with  all  the  conditions  that,  in  any  way, 
enter  into  its  erection  and  designing.  Per- 
on  the  spot ; it  is  the  only  way  to  obtain  satis- 


The  Difficulty  with  Clients. 

“And  clients,”  I insinuated,  “what  of  them?  Are  they  easy  to 
handle?  Does  the  client's  own  views  influence  a design  to  any  ex- 
tent? And  what  happens  when  the  client  differs  radically  from  the 
architect,  and  will  not  be  led  by  the  nose,  as,  of  course,  he  should?” 
Mr.  Price  became  immediately  quiet;  it  was  not  that  my  ques- 
tions were  profound — for  they  are  questions  every  one  asks  of  an 
architect — but  they  evidently  called  up  reminiscences  that  were  not 
intended  for  publication.  In  a moment  he  resumed: 

“Clients,”  he  said,  solemnly,  "have  way  back  in  their  heads  an  idea 
of  a house.  Some  can  express  it  and  some  can't;  others  have  ar- 
rived at  the  idea  through  familiarity  with  the  work  of  the  architect 
they  have  come  to  engage.  In  the  latter  case  it  is  based  on  prin- 
ciples you  have  already  solved.  But  there  are  times  when  the  client 
will  leave  everything  to  you.  And  those  are  the  times  the  architect 


THE  WORKS  OF  BRUCE  PRICE. 


7 1 


most  enjoys.  Of  course,  it  is  fiequently  necessary  to  combat  a 
client's  views ; but  that  should  never  be  done  arbitrarily,  only  by 
showing  something  better.  In  that  way  a good  deal  can  be  accom- 
plished. When  it  is  impossible  to  move  a client  and  I find  myself 
in  disagreement  with  him  I have  invariably  found  the  result  unsatis- 
factory.” 

“I  wish  you  would  tell  me  something  of  your  work  at  Tuxedo,”  I 
said. 

The  Evolution  of  Tuxedo  Park. 

‘‘That  I regard  as  one  of  my  most  important  achievements. 
Tuxedo  was  a growth,  an  evolution ; not  a definite  idea  carried  out 
from  the  beginning.  Mr.  Lorillard’s  original  idea  was  a simple 
club  house,  which  was  not  even  a club  house,  in  the  wilderness. 
The  park  was  to  be  a preserve  for  hunting  and  fishing  for  a limited 
number  of  people,  with  a few  cottages  to  be  rented  or  sold.  So  un- 
pretentious was  the  first  thought  that  Mr.  Lorillard  invariably  desig- 
nated his  cottages  and  house  as  ‘boxes.’  Gradually  the  idea  de- 
veloped. Society  took  hold  of  the  project.  It  not  only  became 
popular,  but  fashionable.  In  very  short  order  the  club  house  be- 
came a large  building,  with  a ball  room  and  one  hundred  bedrooms, 
and  the  ‘boxes’  became  country  houses.  In  the  matter  of  archi- 
tectural treatment  much  was  left  to  me,  and  in  the  first  six  months 
after  the  project  was  started  I designed  and 
built  forty  houses.  An  engineer  was  in 
charge  of  the  grounds,  but  the  architectural 
recjuirements  were  naturally  permitted  to 
dominate  in  all  essential  matters.” 

The  Problem  of  Planning. 

Tuxedo  naturally  suggested  the  funda- 
mental problems  of  planning  and  arrange- 
ment underlying  the  designing  of  country 
houses ; problems  that  every  architect  must 
face,  problems  that  every  client  presents, 
urges,  supports  and  insists  upon,  apart  from 
the  natural  problems  presented  by  site  and 
location. 

“The  greatest  difficulty  in  all  country 
house  planning,”  said  Mr.  Price  in  reply  to 
my  query,  “is  that  more  room  is  wanted  up- 
stairs than  down.  The  second  floor  is  the 
real  key  to  the  plan,  and  the  result  is  that 

Pendant,  Balcony  of  Great 

houses  are  frequently  planned  on  the  crazy-  Haii,  Georgian  court. 


72 


THE  ARCHITECTURAL  RECORD. 


quilt  system,  every  part  fitting  into  every 
other  part,  and  no  satisfaction  to  any- 
one, save  to  the  designer  of  the  combi- 
nation, who  can  only  exhibit  his  ingen- 
uity as  a result.  The  present  style  of 
country  house  building  is  of  relatively 
recent  origin.  When  people  first  began 
to  go  to  the  country  they  went  to  hotels ; 
that  was  the  first  stage.  Then  came  cot- 
tages, mostly  unpretentious  dwellings. 
In  the  third  period  people  bought  old 
farmhouses  and  added  to  them ; the 
quaint  period.” 

And  then  he  waxed  reminiscent  and 
told  of  a remarkable  experience  with  a lady  clad  in  red,  carrying  a 
green  umbrella  and  wearing  a bonnet  decked  with  purple  feathers,  a 
combination  altogether  impressive  and  quite  in  the  current  style  of 
art.  She  sallied  forth,  accompanied  with  her  lord  and  master  and  all 
her  immediate  descendants — quite  a raft  of  them — and  under  this 
cultured  guidance  the  architect  was  escorted  around  a newly  acquired 
farmhouse,  and  to  the  wave  of  the  green  umbrella  was  directed  how 
to  make  it  picturesque,  quaint  and  conformable  to  the  ideas  of  mama. 

“I  want  it  full  of  surprises  (wave),”  she  demanded;  “full  of  cupolas 
(wave)  and  turrets  (wave).” 

But  at  last  the  architect  escaped,  and  that  was  the  last  of  that  job. 
In  itself  a remarkable  thing;  and  yet  does  not  the  tale  show  a fine 
independence,  a real  artistic  feeling  (in  the  architect),  a sense  of  the 
propriety  of  art  and  in  art,  which,  if  we  had  more  of  would  redeem 
our  public  architecture  from  much  of  its  present  reproach? 

“In  this  last  period,”  resumed  Mr.  Price,  “everything  must  be 
quaint  and  odd,  rooms  shooting  off  at  unexpected  angles,  or  unex- 
pectedly appearing  where  they  were  least  wanted ; rooms  at  various 
levels,  with  steps  up  or  down  to  them ; rambling  strange  affairs,  a 
mixture  of  all  sorts  of  odds  and  ends.  And  yet,  abominable  as  the 
whole  system  is,  I acquired  a very  considerable  reputation  in  doing 
these  very  things  of  which  I now  absolutely  disapprove.” 

That,  surely,  was  a frank  confession  ; it  was  more  than  that.  It 
was  not  the  architect  who  was  speaking,  but  the  man,  and  the  man 
raised  above  the  architect,  frankly  admitting  the  progress  of  his  art, 
glorying  in  his  radicalism  and  rejoicing  in  it.  Yet  there  was  nothing 
contradictory  in  this  statement  with  the  earlier  discussion  on  the 
artistic  expression  of  the  country  house  in  its  relationship  to  the 
natural  surroundings.  For  we  were  now  talking  of  the  interior  of 
the  house,  the  foundation  of  the  design,  if  you  will;  whereas,  before 
it  was  the  outer  covering  of  the  inner  skeleton  that  was  analyzed. 


Bracket  in  Billiard  Room  of 
Georgian  Court. 


THE  WORKS  OF  BRUCE  PRICE. 


73 


The  relationship  of  the  house  to  the  landscape  is,  of  course,  a wholly 
different  problem  from  the  internal  planning. 

The  lady  of  the  green  umbrella  was,  however,  matched  by  another 
lady  client.  She  had  built  many  houses  and  had  acquired  vast  archi- 
tectural knowledge.  At  last  she  came  to  Mr.  Price  and  he  designed 
a house  for  her.  That  it  was  a charming  house  to  gaze  upon  need 
not  be  stated.  But  the  lady,  while  satisfied  with  Mr.  Price’s  exterior 
design,  insisted,  as  is  sometimes  the  case  with  lady  clients,  that  her 
plan  should  be  adopted.  And  so  she  undertook  the  task  with  a zeal 
worthy  of  a better  cause.  Not  being  ungracious — for  what  architect 
ever  had  a lady  client  who  was  ungracious  or  unappreciative? — she 
one  day  rewarded  her  architect  by  telling  him  that  while  he  had  made 
a fine  monument  to  himself  in  the  outside  of  the  house,  he  had  made 
a mausoleum  for  her  within.  Alas,  it  was  too  true,  for  presently  she 
died  to  the  tender  ministrations  of  four  doctors. 

The  Gould  House. 

“The  proper  way  to  plan  a house,”  continued  Mr.  Price,  “is  to  treat 
it  on  architectural  principles,  and  that,  of  course,  means  the  employ- 
ment of  axial  lines.  Mr.  Gould’s 
house,  “Georgian  Court,”  at  Lake- 
wood,  will  explain  what  I mean  per- 
haps better  than  any  other.  There 
you  enter  a large  hall,  from  each 
end  of  which,  to  the  right  and  left, 
runs  a corridor  that  connects  everv 
part  of  the  building.  This  corridor 
could  have  been  continued  indefi- 
nitely, but  naturallystops  just  where 
it  was  wanted  to  stop.  Now,  the  merit 
of  this  plan  to  my  mind  is  that  the 
moment  you  enter  the  hall,  the  mo- 
ment you  come  into  the  house,  you 
have  the  whole  of  itbeforeyou-  You 
not  only  know  where  you  are,  but 
you  see  the  entire  house  as  soon  as 
you  have  come  into  it.  This  seems 
to  me  an  immense  advantage.  Not 
only  is  it  a perfectly  logical,  utili- 
tarian plan,  but  you  are  at  home  the 
moment  you  are  inside  the  door. 

There  is  no  need  to  find  your  way 
around.” 

“True,”  T replied.  “But  that,  I 


Bracket  in  Conservatory  of  Georgian 
Court. 


74 


THE  ARCHITECTURAL  RECORD. 


am  sure,  is  only  one  of  the 
many  things  you  pride  your- 
self on  in  that  sumptuous 
dwelling.” 

“It  is  not  sumptuous  in  the 
ordinary  sense  of  the  word,” 
he  replied.  “That  is,  it  is  not 
a gorgeous  house,  though  it 
is  one  in  which  I feel  a great 
deal  of  satisfaction.  It  is 
built  directly  in  the  pines, 
and  its  simple  grey  walls  take 
on  an  endless  succession  of 
changing  shadows  from  the 
trees  that  almost  touch  it.  At 
the  entrance  is  an  unpreten- 
tious lodge.  To  the  left  is 
the  house ; to  the  right  the 
stable ; between  them  is  a 
garden.  It  will  probably 
surprise  you,  but  it  is  true, 
that  the  cost  of  the  house  was 
restricted,  and  hence  the 
house  itself  is  restricted.  The 
materials  are  stucco  and  terra 
cotta,  so  that,  externally,  at 
least,  it  cannot  be  called  a 
sumptuous  dwelling.  I look 
upon  it  as  a consistent  design  throughout,  yet  it  contains  several 
features  of  widely  separated  origin.  It  was,  in  fact,  an  attempt 
to  put  a French  chateau  roof  on  an  English  Georgian  house.  In 
English  and  American  houses  the  first  floor  is  the  fine  floor ; it  is 
not  so  in  French  houses.  On  the  other  hand,  there  are  no  English 
roofs,  except  the  Elizabethan,  which  are  mostly  thin  and  poor  and 
not  habitable.  In  France  the  roof  has  been  superbly  developed,  with 
big  dormers,  forming,  in  fact,  the  best  part  of  the  design.  I took 
these  two  things  and  placed  them  together,  f do  not  think  there  is 
diversity  in  actuality,  for  there  is  no  chateau  detail  and  the  style 
throughout  has  been  made  consistent. 

“In  the  interior  somewhat  different  conditions  prevailed,  since 
the  inside  of  a house  offers  opportunity  for  a richer  treatment  than 
is  possible  without.  The  theory  of  the  inside  has  been  to  carry  it 
out  as  an  English  house.  White  is  the  chief  color,  white  and  gold. 
There  is  a white  entrance  hall  qualified  by  crimson  walls  and  the  rich 
colors  in  the  Canterbury  frieze.  The  dining  room  is  white  again. 


) 


Bracket  in  Music  Room  ot  Georgian 
Court. 


THE  WORKS  OF  BRUCE  PRICE. 


75 


with  green  walls  and  green  tints.  In  the  library  you  have  the  rich 
bindings  of  the  books  as  the  chief  element  in  the  color  scheme,  and 
there  the  wood  is  dark.  The  billiard  room  is  also  dark.  In  the 
music  room  the  wood  is  gilded,  in  keeping  with  its  style  and  in  har- 
mony with  the  painted  panels  of  the  walls.  The  morning  room  has 
more  gilt  on  its  wood,  with  panels  of  white  silk  embroidered  in 
colors.  The  general  effect  is  rich,  no  doubt,  but  it  is  eminently  liv- 
able and  intended  for  constant  use.  And,  after  all,  one  could  not 
place  the  splendid  works  of  art  contained  in  this  house  in  rooms  that 
were  not  suitably  decorated. 

“The  stable  is  necessarily  large,  because  it  contains  accommoda- 
tions for  a considerable  number  of  horses  and  carriages,  and  also  a 
laundry  for  the  house,  sleeping  and  dining  rooms  for  the  men  em- 
ployed in  the  stables.  A water  tower  was  needed  for  the  estate,  and 
instead  of  building  a gaunt  scaffolding  it  was  made  the  central  feat- 
ure of  the  stable.  The  utmost  simplicity  pervades  the  design  of 
both  house  and  stable.” 


The  American  Surety  Building. 

From  the  Gould  house  to  the  building  of  the  American  Surety 
Co.  was  a step  backward  in  chronology,  but  not  otherwise,  for  that 
fine  structure  will  hold  its  own  after  many  a more  pretentious  build- 
ing has  become  a weariness  to  the  flesh.  It  is  so  notable  an  edifice 
and  so  conspicuous  a monument  in  its  author’s  artistic  career  that 
I brought  Mr.  Price  back  to  it  without  any  compunction. 

“The  problem  there,”  he  said,  “was  to  design  a monumental 
structure.  The  idea  is  a campanile 
with  four  pilaster  faces,  the  seven 
flutes  being  represented  by  seven 
rows  of  windows.  I presume  the 
most  fortunate  thing  in  connection 
with  this  building  was  the  making 
of  the  four  exposed  sides  entirely 
alike,  a thing  which  had  not  been 
previously  done  in  New  York, 
and  which  has  not  been  repeated. 

The  Surety  Co.  obtained  control  of 
the  adjoining  buildings  and  was 
thus  able  to  secure  the  absolute  in- 
tegrity of  its  own  structure.  This 
gave  an  unusual  advantage  and  an 
unusual  opportunity.  It  is  true  I 
should  have  liked  to  have  built 
higher,  to  have  added  five  stories  to 


76 


THE  ARCHITECTURAL  RECORD. 


the  shaft,  and  then  capped  the  building  with  a high  pyramidal  roof, 
the  prototype  being,  of  course,  the  campanile  of  St.  Mark’s  at  Venice, 
from  which  also  is  borrowed  the  idea  of  the  arcade,  or  colonnade,  as 
it  more  properly  is,  of  the  crowning  member. 

“The  fact  is  the  tower  idea  is  the  only  artistic  solution  of  the  prob- 
lem of  high  design.  The  great  defect  of  most  high  buildings  is  the 
hideous  back  wall  and  the  utter  lack  of  care  by  the  architect  or  the 
owner  to  make  the  interior  sides,  as  they  rise  up  beyond  the  sur- 
rounding roofs,  architectural  entities  of  any  sort  whatever.  Our 
commercial  buildings  are,  almost  without  exception,  designed  wholly 
with  reference  to  their  relation  to  the  street,  while,  as  a matter  of  fact, 
they  have  no  such1  relation  at  all,  their  aerial  aspect  being  of  more 
value  to  the  city  as  a whole  than  the  distorted  partial  views  that,  as  a 
rule,  are  all  we  can  obtain  from  the  street. 

“The  design  known  as  the  ‘Sun  Building,’  and  published  in  that 
paper  of  February  8th,  1891,  was  composed  for  its  aerial  display. 
The  Tribune  Building  was  regarded  as  completed  and  as  high  as  it 
could  safely  be  extended ; the  Sun  Building  was,  therefore,  composed 
as  a tower  resting  against  the  Tribune  Building  as  high  as  its  tenth 
story,  and  above  was  treated  with  all  sides  of  equal  importance — a 
true  tower.  It  was  given  an  entasis  or  batter  at  the  ratio  of  9 inches 
to  100  inches,  so  that  as  it  passed  above  the  roof  of  the  Tribune 
Building  it  was  all  within  its  own  territory.  Unfortunately  it  was 
found  that  the  plot  was  not  adapted  to  the  design,  and  it  was,  there- 
fore, abandoned.  Plans  were,  however,  made  for  a corner  site  close 
by,  and  very  carefully  studied  for  a building  100  feet  square  at  the 
base.  The  tower,  or  main  body  of  the  structure,  was  to  be  eighty 
feet  square  and  planted  directly  on  the  corner,  and  wings  of  twenty 
feet  front  were  to  be  built  on  the  remaining  space  on  each  street. 
These  wings  were  to  be  built  up  against  the  tower  to  the  height  of 
ten  or  twelve  stories  only,  and  were  to  serve  the  double  purpose  of 
connecting  the  tower  with  the  buildings  immediately  adjoining, 
which  were  assumed  to  be  structures  of  average  height,  and  of  pro- 
viding an  ‘L’  shaped  court  on  the  inner  corner  of  the  lot  for  light  and 
air.  Some  superficial  area  was  lost  to  the  total  floor  space,  but  this 
was  more  than  compensated  for  by  the  absolutely  free  light  gained 
for  the  upper  stories,  and  as  this  particular  building  was  to  be  thirty- 
four  stories  high  the  gain  for  this  purpose  was  of  great  practical 
utility.  Aesthetically  the  advantage  was  very  great,  since  it  then 
became  possible  to  treat  the  four  sides  exactly  alike  and  of  equal 
importance. 

“Tire  truth  is  the  outcry  against  the  high  building  has  largely  been 
on  aesthetic  grounds,  and  there  is  no  reason  why  aesthetic  rights 
being  answered  the  material  rights  will  not  also  be  fully  protected. 
The  theory  is,  of  course,  that  any  building  rising  above  a certain 


THE  WORKS  OF  BRUCE  PRICE. 


77 


height,  say  125  or  150  feet,  should  have  in  proportion  to  a height 
greater  than  this,  an  environment  commensurate  with  that  height. 
If  the  building  is  300  feet  high  it  should  by  law  be  compelled  to  have 
all  its  facades  of  equal  import,  and  to  do  so  the  owner  should  be 
compelled  to  own  or  to  control  all  the  adjoining  property  to  the  ex- 
tent of  fifty  or  seventy-five  feet,  as  the  case  may  be,  to  be  occupied  by 

ten  or  twelve  stories  in 
would  then  emerge  above  it 
It  is  true  enough  that  the 
in  this  case,  be  few ; and  the 
but  the  inducement  to  make 
would  be  everything,  and 
in  that  it  would  have  a few 
instead  of  a number  of 
back  walls  and  faqades  that 
expressions  of  the  struct- 
Building  has  not  yet 
the  principles  that  un- 
sign were  utilized  in 
Surety  Building, 
have  said,  it  could  with 


buildings  of  not  more  than 
height.  The  skyscraper 
as  an  architectural  entity, 
chances  for  building  would, 
expense  would  be  great, 
the  high  building  beautiful 
the  city  would  be  the  gainer 
beautiful  tower  buildings 
dreadful  ones  with  horrible 
are  mere  fronts  and  not  real 
ure.  The  Sun 
been  built,  but 
underlie  its  de 
the  American 
though,  as  I 
advantage  have 


been  built  higher. ” 


Pendant  in  Billiard  Room  of  Georgian  Court. 


I assured  him  that  the  building  as  it  stands  at  present  did  not  seem 
to  me  in  the  least  unfinished,  nor,  indeed,  in  want  of  a visible  roof. 
Many  Italian  towers  were  built  with  square  tops  and  the  building  is 


78 


THE  ARCHITECTURAL  RECORD. 


Stair 


so  high  that  the  eye  craves  nothing  more.  But  such  a success  was 
not  attained  without  the  most  careful  study  and  the  keenest  appre- 
ciation of  the  difficulties  of  high  designing.  I asked  Mr.  Price  to 
tell  me  something  of  the  more  subtle  devices  he  used  to  obtain  his 
final  result — devices  that  illustrated  the  profound  study  that  must 
have  been  given  to  a design  so  successful  as  this,  which  were  an 
essential  part  of  it,  and  yet  whose  real  purpose,  whose  presence  even, 
the  public  is  unaware  of. 

“When  I compared  the  design  to  a pilaster,”  he  re- 
joined, "the  resemblance  is  much  more  than  that  con- 
veyed by  the  seven  series  of  windows.  The  design 
is  a trulv  vertical  one,  the  vertical  idea  being 
maintained  throughout  by  the  window  trim ; 
while  the  vertical  line  is  broken  by  the 
horizontal  lines  without  being  stopped. 

The  result  is  exactly  the  arris  of 
a channel.  Then,  in  order  to 
gain  an  entasis  and  avoid 
any  possible  distortion  of 
the  wall,  the  window 


frames 
are  set 
back  an  inch 
in  each  succes- 
sive story.  At  the 
base  they  are  quite  near 
the  outer  surface  of  the  wall, 
and  you  see  the  piers  within 
through  the  glass;  at  the  top  they  are 
deeply  set.  If  you  have  a thick  wall 
above,  a wall  that  appears  thick  as  you  look 
up  to  it,  you  know  at  once  without  being  told  by 
a similar  thickness  on  the  exterior  of  the  lower 
wall,  the  same  thickness  must  extend  from  top  to 
bottom.  There  is  a psychological  explanation  that 


Railing,  Great  Hall. 
Georgian  Court. 


THE  WORKS  OF  BRUCE  PRICE. 


79 


is  quite  as  satisfying,  as  though  the  fact  were  thrust  into  your 
notice  on  the  ground  floor.  Statically,  I regard  this  treat- 
ment as  entirely  right,  and  it  gives  some  aesthetic  ad- 
vantages. Shadows  and  perspective  tell  more  above 
than  they  do  below,  and  you  can  get  much  deeper 
shadows  above  by  this  method  than  you  could 
possibly  get  by  any  other.  And  it  helps 
in  the  entasis  also,  which  is  very  im- 
portant in  a building  so  narrow 
and  so  high  as  the  Surety. 

“In  the  St.  James  Build- 
ing the  same  principle  is 
employed,  but  in  a 
different  w a y. 

The  St.  James 
is  much 
broader 
than 


the  Surety 
and  fou r 
stories  less  in 
height.  It  was  not 
necessary  to  treat  each 
story  separately,  and  all  the 
lower  window  frames  are  'n 
the  same  plane.  But  in  the  crown- 
ing members  they  are  pushed  back 
as  far  as  possible  to  get  the  sense  of 
power  that  is  best  obtained  by  having  the 
greatest  apparent  thickness  of  the  wall  above. 
In  designing  the  St.  James  the  problem  was  a 
facade,  in  the  Surety  it  was  a tower.  Each  (is. 
therefore,  quite  different,  and  calls  for  different 
treatment.  There  was  not  in  the  St.  James  an 
opportunity  to  employ  a continuous  design  on 
all  four  sides,  but  the  design  of  the  street  fronts  is  suggested  on  the 
other  two  in  flat  arches  that  relieve  the  walls  as  much  as  was  practi- 


Stair  Railing,  Great  Hall, 
Georgian  Court. 


cable. 

“In  the  Surety  Building  there  is  a certain  grandeur  from  the  use 
of  granite  throughout.  In  the  St.  James  an  effort  was  made  to  erect 
a rich  commercial  building  as  cheaply  as  possible,  yet  using  good 


8o 


THE  ARCHITECTURAL  RECORD. 


Cast  Brass — Gold  Plated  Balcony  Front,  Georgian  Court. 


materials.  Red  brick  forms  the  body  with  white  terra  cotta  trim. 
There  is  no  reason  at  all  why  a building  should  be  wholly  of  one 
color,  nor,  if  the  architect  is  so  disposed,  is  there  any  reason  why 
a red  building  should  not  be  trimmed  with  white,  more  than  a white 
building  trimmed  with  red.  It  is  a matter  of  personal  feeling,  pure 
and  simple,  and  depends  only  on  the  special  effect  at  which  the 
architect  is  aiming.  The  employment  of  color,  just  as  the  choice  of 
color,  is  not  a matter  of  rule  or  regulation,  but  of  feeling. 


The  Design  for  a new  Brunswick  Hotel. 

‘‘A  different  problem  was  attacked  in  the  design  for  a hotel  on  the 
site  of  the  old  Brunswick  hotel.  There  an  effort  was  made  to  pro- 
duce  a design  that  should  be  deliberately  ornamental,  ornate  and 
rich,  and  full  of  color  and  light.  One  can  accomplish  that  in  a hotel 
while  it  is  almost  impossible  in  the  more  rigid  requirements  of  a com 
mercial  building.  This  plan  is  extremely  simple.  You  enter  a large 
vaulted  hall.  On  one  side  is  the  cafe,  on  the  other  the  restaurant; 
over  your  head,  and  reached  by  a monumental  staircase,  is  a palm 
room.  Directly  before  you  is  the  hotel  office;  a connecting  corridor 
runs  right  and  left,  with  minor  rooms  beyond,  and  affording  perfect 
communication  with  every  part.  The  moment  you  get  inside  you 
know  where  you  are  and  where  to  go.” 

And,  indeed,  it  was  a remarkable  color  scheme,  this  great  hotel 
of  red  trimmed  with  white.  There  is  a white  base ; then  a super- 
structure of  red,  with  white  trimmings ; then  a crowning  member, 
richly  treated,  of  red  and  white,  with  a white  attic  and  a black  high- 
pitched  roof.  By  all  odds  the  most  ambitious  color  scheme  yet  pro- 
posed in  the  metropolis,  and  certainly  a scheme  that  bids  fair  to  be 


THE  WORKS  OF  BRUCE  PRICE. 


81 


eminently  successful.  There  is  a joyousness  in  this  design,  a feeling 
of  light  and  life  that  is  quite  unsuited  to  a commercial  building,  and 
exactly  suited  to  the  purposes  of  a hotel. 

Canadian  Buildings. 


And  then,  without  any  transition  at  all,  we  journeyed  forth  to 
Canada,  where  Mr. 

Price  is  quite  unique 
among  New  York 
architects  in  having  a 
whole  series  of  nota- 
ble buildings,  any  one 
of  which  marks  its  au- 
thor as  a most  dis- 
tinguished p r a c t i - 
tioner  in  his  art.  We 
were  turning  over  a 
number  of  photo- 
graphs  of  these  build- 
ings, and  I remarked 
on  their  strong  indi- 
viduality and  highly 
distinctive  character, 
the  more  important  of 
them  forming  a group 
whose  leading  lines 
were  quite  distinct 
from  building's  by  the 
same  hand  in  the 
United  States.  I 
asked  Mr.  Price  if  he 

had  deliberately  set  out  to  make  a difference  between  native  build- 
ings, as  one  might  call  them,  and  foreign  structures. 

“Not  at  all,"  he  replied,  “Canadian  conditions  are  distinct  from 
American  conditions;  the  surroundings  are  different,  and  in  the 
larger  buildings  I had  the  entire  resources  of  the  Canadian  Pacific 
Railway  to  draw  upon,  and  hence  it  was  possible  to  build  with  cer- 
tain materials  in  a certain  way.  The  Windsor  Street  Station  of  the 
Canadian  Pacific  Railway  in  Montreal,  which  was  the  first  of  the 
series,  was  not  built  under  as  favorable  conditions  as  some  of  the 
later  buildings.  After  the  building  had  been  raised  to  the  cornice 
I was  required  to  completely  change  my  roof.  It  had  been  designed 
with  a high  sloping  roof  with  great  dormer  windows  which 
would  have  given  the  building  a character  it  now  lacks.  There  was 


Piano  in  Georgian  Court,  the  Residence  of  Geo.  J.  Gould, 


82 


THE  ARCHITECTURAL  RECORD. 


nothing  to  do  but  to  submit  to  the  inevitable  and  substitute  the  pre- 
sent low  roof  and  the  somewhat  insignificant  windows.  It  was  par- 
ticularly trying  to  have  to  make  these  changes  after  the  building  had 
advanced  so  far.  The  lantern  on  the  tower  was  also  omitted,  though 
there  is  now  some  talk  of  building  it. 

“Now,  in  the  Chateau  Frontenac  in  Quebec  a much  greater  liberty 
of  action  was  allowed,  and  it  was  carried  out  as  originally  designed ; 
not  all  at  once,  however,  for  the  last  wing  has  been  but  lately  fin- 
ished. The  conditions  were  very  unusual,  though  it  was  originally 
proposed  to  build  an  ordinary  hotel  in  an  ordinary  way ; that  is,  a 
square  structure  planned  in  the  rectangular  fashion.  It  seemed  to 
me  this  would  have  been  nothing  short  of  a positive  misfortune. 
The  site  was  an  inspiration,  being  directly  on  the  Dufferin  Terrace, 
a newly-made  promenade  on  the  site  of  the  old  ramparts.  The  ground 
sloped  down  irregularly  in  several  directions,  and  quite  sharply,  with 
the  citidal  not  far  off  but  still  above  it.  It  was  practically  at  the  apex 
of  the  picturesque  old  city,  and  if  ever  there  there  was  a natural  place 
and  a natural  reason  for  a picturesque  building  it  was  here ; that,  and 
the  variations  in  the  site  levels  that  made  it  perfectly  logical  to  add 
part  to  part,  and  in  which,  as  a matter  of  fact,  part  was  added  to  part, 
led  to  the  development  of  a picturesque  design  without  direct  effort 
and  in  a natural  way. 

“The  moif  is,  of  course,,  the  early  French  chateau  adapted  to 
modern  requirements,  a style  certainly  in  keeping  with  the  traditions 
of  the  old  French'  city,  and  admirably  suited  to  the  picturesque 
situation  where  the  angles  are  marked  with  circular  towers  and  tur- 
rets, keeping  each  face  distinct  and  permitting  the  various  levels  to 
be  worked  into  a harmonious  whole  that  could  not  have  been  pos- 
sible witlr  a rectangular  building.  In  developing  this  idea  I gave 
myself  a heap  of  trouble.  It  was  much  more  difficult  to  plan  a build- 
ing strung  around  an  irregular  courtyard  than  one  planned  on 
simpler  lines.  Moreover,  it  was  no  easy  task  to  adjust  the  various 
shapes  of  the  towers  and  the  connecting  pavilions  to  normal  means 
of  communication.  The  plan  somewhat  approximates  the  crazy- 
quilt  fashion,  but  I believe  the  results  justify  the  solution.  Nor,  in 
treating  the  facades,  was  it  necessary  to  keep  wholly  to  the  text  of  the 
style  on  which  it  was  modelled.  An  artist  is  not  an  archaeologist 
and  I do  not  see  why  a modern  architect  cannot  create  a design  with 
his  knowledge,  as  well  as  the  older  men  did  with  theirs. 

“The  materials  I believe  to  be  also  in  harmony  with  the  surround- 
ings ; blue  limestone,  Glenboig  brick,  hard,  coarse  materials,  giving 
broad  effects,  with  plenty  of  light  and  color.  The  hotel  is  placed  in 
the  centre  of  a big  landscape,  and  hence  needs  every  advantage  of 
bigness,  both  from  the  materials  and  from  the  simplicity  of  its  de- 


THE  WORKS  OF  BRUCE  PRICE. 


83 


“Another  example  of  the  same  application  of  the  early  French 
chateau  to  modern  requirements  is  the  Place  Viger  Railway  Station 
in  Montreal.  There  is  no  detail  on  this  building,  which  depends  for 
its  effect  wholly  upon  the  general  masses  of  the  design,  the  breadth 
of  wall,  and  the  sequence  of  the  windows.  The  lower  part  serves  as  a 
railroad  station,  the  upper  as  a hotel.  It  seems  to  me  that  here  is  a 
common-sense  picturesque  handling  of  the  subjject.  The  situation 
of  the  building  calls  for  more  than  simple  treatment,  and  its  purpose 
forbids  anything  that  might  appear  incongruous.” 

The  Question  of  “Styles.” 

“But  it  seems  to  me  remarkable,”  I interjected,  “that  you  should 
have  developed  a special  style  in  these  buildings ; not  used  it,  but 
developed  it  in  each  successive  design,  obtaining  highly  individual 
effects  in  each  instance,  and  yet  keeping  to  the  same  motifs,  while 
here  in  New  York  and  in  other  American  places  you  are  erecting 
buildings  in  a wholly  different  style  that  is  equally  progressive  and 
equally  individual.  It  is  unusual,  because  with  most  architects  a 
different  style  corresponds  to  a different  period,  and  one  can  gener- 
ally group  all  the  buildings  done,  say,  in  one  ten  years,  by  their  gen- 
eral similarity,  while  those  of  the  next  ten  years  have  their  own 
special  family  likeness.  In  your  case  it  is  not  possible  to  arrange 
your  buildings  in  styles  chronologically,  because  in  each  period  you 
are  doing  important  work  in  several  styles  without  any  loss  of  char- 
acter in  any  instance.  This  seems  to  me  not  only  one  of  the  most 
important  points  in  your  architectural  career,  but  something  abso- 
lutely unique.” 

Mr.  Price  smiled  and  said,  “It  is  wholly  a matter  of  conviction. 
If  your  convictions  are  strong  they  will  bring  to  you  a certainty  of 
belief  in  the  adaptability  of  a particular  thing  in  a particular  style 
to  a particular,  site.  I have  felt  this  very  keenly,  the  adaptability  of 
the  special  style  used  in  these  Canadian  buildings  to  the  special  sites 
and  conditions.  As  in  many  other  matters  in  design,  feeling  has  a 
good  deal  to  do  with  it,  but  there  must  always  be  a complete  adapta- 
tion of  design  to  the  site  to  secure  a perfectly  satisfactory  result. 

“But  all  my  Canadian  buildings  are  not  designed  in  one  style. 
The  Royal  Victoria  College  for  Young  Women  in  Montreal  is 
another  large  building  recently  completed.  And  here,  as  in  the 
Windsor  Street  Station,  I was  compelled  to  cut  down  much  of  the 
original  design,  and  to  carry  out  the  building  in  a way  very  different 
from  that  in  which  it  was  designed.  Originally  the  gables  were 
stepped  in  the  Scottish  castellated  style,  and  the  building  set  off 
with  turrets  that  fitted  into  the  roof  design  in  a most  picturesque 
manner.  All  of  these  things  were  removed  on  the  ground  of  lack 


84 


THE  ARCHITECTURAL  RECORD. 


of  means,  and  the  building  somewhat  reduced  in  area  for  the  same 
reason.  I do  not  regard  these  changes  as  destroying  whatever  art- 
istic merit  the  building  may  have,  but  I certainly  was  not  able  to 
secure  the  effect  I aimed  at  nor  which  I had  hoped  to  have.” 

It  had  grown  late  and  become  almost  dark  outside.  Mr.  Price  rose 
suddenly  and  drew  me  to  the  window. 

“Look,”  he  said,  “is  not  that  a marvellous  spectacle?” 

And  in  truth  it  was.  A shadow  had  fallen  on  the  city  below  us; 
the  streets  seemed  choked  with  a darkness  that  came  from  below. 
Far  off  in  the  west  the  brilliant  rays  of  the  declining  sun  poured 
through  dark  purple  clouds,  lighting  up  the  high  points  in  the  city’s 
buildings,  and  throwing  a disk  of  burnished  copper  on  the  distant 
surface  of  the  bay.  The  eastern  darkness  was  fast  filling  the  metrop- 
olis, but,  as  we  looked  from  the  window,  it  seemed  as  though  the 
whole  United  States  had  sent  a glow  of  light  up  toward  the  great 
city  at  its  gate.  Truly,  with  such  a land,  with  such  an  impulse,  there 
must  be  hope  for  us.  And  under  the  inspiring  stimulus  of  my  talk 
with  Mr.  Price,  I felt  there  was  hope  for  our  architecture. 

Barr  Berree. 


The  Staircase,  Great  Hall,  Georgian  Court. 


ENTRANCE  GATES  AND  LODGE,  GEORGIAN  COURT. 


Residence  of  George  J.  Gould,  Esq., 
Lakewood,  N.  J. 


THE  ENTRANCE  GATES  TO  GEORGIAN  COURT 


lfci  i 

I '-»■ 
[My. 

j 

||§1 

GEORGIAN  COURT,  FROM  THE  SOUTHWEST, 


GEORGIAN  COURT.  FROM  THE  SOUTH. 


STABLES  AND  PADDOCK.  GEORGIAN  COURT. 


THE  GREAT  HALL  OF  GEORGIAN  COURT,  LOOKING  SOUTH. 


ENTRANCE  DOORWAY,  GREAT  HALL  OF  GEORGIAN  COURT. 


THE  GREAT  HALL  OF  GEORGIAN  COURT,  LOOKING  WEST. 


THE  GREAT  HALL  OP  GEORGIAN  COURT,  LOOKING  EAST. 


DRAWING  ROOM,  GEORGIAN  COURT. 


DRAWING  ROOM,  GEORGIAN  COURT. 


<^fnai«8Sfi>f«iiaiitiiilfiiilllllllSISllS8ii81!iiiHiiil^ 


DOORWAY  TO  MUSIC  ROOM,  FROM  GREAT  HALL.  GEORGIAN  COURT. 


THE  LIBRARY  OF  GEORGIAN  COURT. 


LOUIS  XIV.  WRITING  DESK  AT  GEORGIAN  COURT. 


PIANO  IN  MUSIC  ROOM,  GEORGIAN  COURT. 


DINING  ROOM  OF  GEORGIAN  COURT,  LOOKING  EAST. 


DINING  ROOM  OF  GEORGIAN  COURT,  LOOKING  WEST. 


DINING  ROOM  OF  GEORGIAN  COURT. 


MANTELPIECE  IN  DINING  ROOM,  GEORGIAN  COURT. 


BILLIARD  ROOM  OF  GEORGIAN  COURT,  LOOKING  WEST. 


BILLIARD  ROOM  OF  GEORGIAN  COURT,  LOOKING  EAST. 


THE  CONSERVATORY  OF  GEORGIAN  COURT. 


CORNER  IN  CONSERVATORY,  GEORGIAN  COURT. 


STABLES  AT  GEORGIAN  COURT. 


ENTRANCE  TO  COURTYARD  OF  STABLES,  GEORGIAN  COURT. 


SERVANTS'  ENTRANCE,  GEORGIAN  COURT. 


ENTRANCE  GATES,  GEORGIAN  COURT. 


GEORGIAN  COURT. 


THE  WORKS  OF  BRUCE  PRICE. 


TECHNICAL  DEPARTMENT. 


IN  the  opening  chapter  of  his  first  book,  Vitruvius  enumerates  the 
sciences  of  which  an  architect  should  be  cognizant  as  follows: 

An  architect  should  be  ingenious,  and  apt  in  the  acquisition  of 
knowledge.  Deficient  in  either  of  these  qualities,  he  cannot  be  a 
perfect  master.  He  should  be  a good  writer,  a skillful  drafts- 
man, versed  in  geometry  and  optics,  expert  at  figures,  acquainted 
with  history,  informed  on  the  principles  of  natural  and  moral 
philosophy,  somewhat  of  a musician,  not  ignorant  of  the  sciences, 
both  of  law  and  physic,  nor  of  the  motions,  laws  and  relations  to 
each  other,  of  the  heavenly  bodies. 

The  conditions  of  life  are  relatively  the  same  at  this  end  of  the  19th 
century,  as  they  were  in  the  time  of  Vitruvius,  except  that  they  are 
now  more  complicated. 

In  the  earlier  period  the  noted  architect  considered  principally 
such  problems  as  were  presented  in  the  palace,  the  temple  and  the 
public  buildings  and  monuments;  these  remain  to  the  modern 
architect  and  there  are  added  numberless  other  problems,  necessitat- 
ing the  broadest  possible  knowledge  of  literature,  the  sciences,  the 
arts,  men  and  affairs.  In  fact  one  cannot  conceive  an  occupation 
demanding,  not  only  such  an  extended  field  of  knowledge,  but  such 
a broad-minded  view  of  life  and  its  conditions. 

On  the  architect  must  needs  rely  the  State  with  its  numberless  re- 
quirements; the  Church  and  the  charitable  organizations;  Com- 
merce; Society  with  its  endless  chain  of  functions  and  the  individual, 
be  he  in  need  of  a palace,  a villa,  or  a shelter. 

The  architect  should  possess  the  rare  qualities  of  selection  and 
adaptation,  which  mark  the  great  artist,  and  must  have  that  intimate 
knowledge  of  nature,  as  well  as  art,  which  will  enable  him  to  co- 
ordinate his  environment  to  his  structure,  so  that  one  may  grow  out 
of  the  other,  each  the  part  of  a whole. 

Too  often  the  architect  is  judged  solely  upon  his  control  of  line, 
contour  and  mass,  while  the  great  importance  of  contrast  other  than 
through  these  means,  is  ignored. 

Consider  how  incomplete  architecture  would  be  without  perfect 
craftmanship,  how  clumsy  without  art  and  carry  the  thought  a step 
further  and  consider  how  tame  it  would  be  without  color. 

Probably  the  best  definition  of  art  ever  given  is  that  of  Delsarte: 

Art  is  feeling,  passed  through  thought,  and  fixed  in  form. 

Is  there  any  artist,  whose  work  more  fully  fits  this  definition,  than 
the  architect? 


s 


H4 


THE  ARCHITECTURAL  RECORD. 


To  consider  the  work  of  an  architect  from  the  point  of  view  taken 
in  these  notes,  a single  example  will  serve,  and  for  the  reason  that  we 
are  again  arriving  in  architecture  at  a period,  similar  in  its  condi- 
tions to  that  of  the  Italian  Renaissance,  in  that  so  large  a number  of 
individuals  and  corporations  have  acquired  vast  wealth  and  that 
architecture  has  received  a new  impulse ; one  may  consider  such  a 
country  house  as  Georgian  Court,  it  being  of  the  class  of  the  Italian 
villa. 

In  this  house  was  presented  a very  fascinating  and  difficult  prob- 
lem, that  of  creating  in  a pine  forest  a home,  for  a gentleman  of  large 
means,  who  desired  his  winter  residence  to  be  commodious  and  at- 
tractive, but  without  a touch  of  grandeur  or  display. 

The  house  is  surrounded  with  numberless  perpendicular  shafts  of 
brownish  gray  pines  crowned  with  dull  green,  and  so  well  managed 
is  the  contrast  of  the  warm  gray  shingle  roof,  the  creamy  terra  cotta, 
the  cold  gray  cement  of  the  walls,  set  upon  the  red  tile  of  the  terrace 
and  the  brick  of  the  surrounding  walks,  that  the  house  seems  either 
to  have  grown  there,  or  that  the  trees  were  planted  for  the  sake  of 
the  house. 

The  approach  to  the  house  is  quiet  and  restful,  not,  however,  with- 
out a touch  of  color,  in  the  great  vases  of  Chinese  blue  and  white, 
filled  with  brilliant  flowers,  which  prepare  one’s  eyes  for  the  magnif- 
icent Italian  garden,  disclosed  as  one  nears  the  carriage  entrance. 

This  superb  mass  of  color  arranged  in  formal  lines  and  set  between 
the  gray  house  and  the  great  gray  stables,  is  delightful  to  more  than 
one  sense  and  prepares  one  for  the  rich  and  varied  color  of  the  in- 
terior, upon  the  detail  of  which  the  scope  of  this  article  will  not  per- 
mit us  to  dwell:  it  will  suffice  to  point  out  that  every  detail  of  color 
in  the  house  was  arranged  with  infinite  care  and  study,  at  the  same 
time  and  in  connection  with  the  architecture,  and  is  an  integral  part 
of  it. 

The  color  study  of  the  interior  was  made  first  as  a whole,  each 
room  being  a chord  in  the  general  harmony  and  considered  in  its 
relation  to  all  the  others ; while  each  room  is  a complete  harmony  in 
itself  in  every  detail,  both  fixed  and  moveable. 

The  house  as  a whole,  is  an  admirable  example  of  what  may  be  ac- 
complished by  an  architect  whose  attainments  and  breadth  of  view 
enable  him  to  consider  a part  of  his  problem,  every  single  element  of 
form  and  color  that  may  surround  it  or  may  be  contained  in  it. 

The  writer  of  this  article,  from  an  intimate  knowledge  of  Mr. 
Price’s  methods,  acquired  by  association  and  collaboration  with  him, 
in  his  work,  is  impelled  to  call  attention  to  the  fact  that  any  review 
or  criticism  of  his  work  would  be  incomplete  which  did  not  attract 
the  attention  of  the  reader  to  his  great  breadth  of  mind,  his  fertile 
imagination,  his  high  artistic  sense,  his  keen  love  of  color,  his  great 
power  as  an  artist  in  various  other  directions  and  the  many  qualities 
of  person  and  mind  that  have  endeared  him  to  those  who  have  had 
the  good  fortune  to  be  brought  in  contact  with  him,  either  socially 
or  professionally. 


Prentice  Treadwell. 


DECORATION  IN  METAL. 


HE  subordinate  elements  of  interior 
decoration  include  none  which  of- 
fer a larger  opportunity  for  effect- 
ive results  than  the  metal  work  of 
doors  and  windows.  Apparently 
this  opportunity  was  but  slightly 
availed  of  in  classic  architecture, 
but  during  the  Middle  Ages  and 
subsequently,  with  the  advance  in 
the  art  of  metal  working,  this  ele- 
ment of  decoration  attained  great 


development  and  prominence. 

Social  and  commercial  conditions  in  America  were  unfavorable  to 


the  development  of  architecture,  except  to  a slight  extent  during  the 
Colonial  period,  until  comparatively  recent  years.  The 
lessons  of  the  Centennial  Exposition  of  1876  broke  the 
indifference  and  barrenness  of  American  designers,  and 
gave  the  initial  impulse  to  architecture  and  its  allied 
arts  which  has  since  produced  the  splendid  results  with 
which  we  are  now  familiar  and  which  were  so  markedly 
in  evidence  at  the  Columbian  Exposition  in  1893. 

In  a new  country  like  our  own,  the  growth  of  taste 
in  household  art,  and  the  appreciation  of  the  right  use 
of  art  work,  came  only  with  the  increase  of  leisure  and 
of  wealth  ; but,  as  the  influence  of  culture,  art  and  travel 
grows  daily  more  apparent,  the  tide  of  public  sentiment 
follows  the  lead  which  only  a brief  time  before  seemed 
far  in  advance  and  perhaps  even  im- 
practicable. The  American  connois- 
seur demands  not  only  the  possession, 
but  the  daily  use  of  articles  which  a 
few  years  ago  would  have  been  cher- 
ished in  some  museum  of  tine  arts, 
and  this  is  true  not  only  in  his  home,  but  in  his 
place  of  business  and,  still  more,  in  the  great  build- 
ings devoted  to  public  service  and  convenience. 

No  other  detail  of  interior  decoration  offers  better 
opportunity  for  intelligent  selection  and  expenditure 
than  metal  work,  and  in  no  other  direction  has 
American  individuality  shown  higher  ability  or  more 
rapid  development.  The  extent  of  this  development 
cannot  be  indicated  by  a few  illustrations  and  can 
only  be  understood  by  an  examination  of  the  pro- 
duct itself  in  use,  or,  still  better,  in  the  Exhibit 
Rooms  of  the  manufacturers. 


Electric  Button. 
Mod.  Am.  School. 


A Colonial 
Knocker. 


THE  ARCHITECTURAL  RECORD. 


1 1 6 

I he  art  of  the  locksmith  and  metal  worker  is  one  of  the  handmaids 
of  architecture;  utility  is  the  primary  motive,  but  decoration  should 
be  included  in  the  final  aim,  and  this  duality  of  purpose  implies  the 
collaboration  of  the  mechanic  and  the  decorator,  the  artist  and  the 
artisan.  To  realize  this  co-operation  and  to  avail  of  the  possibilities 
of  modern  science,  necessitates  resort  to  the  complex  facilities  of  a 
great  industrial  establishment,  where  can  be 
found  combined  all  of  the  best  and  latest  appli- 
ances, and  where  the  trained  artist  and  designer 
may  give  full  play  to  the  imagination,  with  con- 
fident reliance  on  the  ability  of  the  manufacturing- 
organization,  aided  by  the  resources  of  the 
modeler,  the  founder,  the  chemist,  the  metal- 
lurgist, and  the  metal  worker,  to  produce  work 
of  the  highest  artistic  quality  at  a ccst  which 
makes  it  commercially  available  for  popular  use. 
The  leading  organization  of  this  kind  in  Amer- 
ica, if  not  in  the  world,  is  that  of  the  Yale  & 
Towne  Manufacturing  Company,  makers  of  the 
celebrated  Yale  locks,  whose  works  are  at  Stam- 
ford and  Branford,  Connecticut,  a few  illustra- 
tions of  whose  work  are  given  herewith  as  per- 
tinent to  the  subject  under  discussion. 

It  is  impossible  to  show  by  illustration  the 
beauty  and  perfection  of  the  work  of  this  char- 
acter now  produced  by  American  designers  and 
manufacturers.  It  may  be  found  in  profusion, 
however,  scattered  throughout  such  buildings  as 
those  described  in  the  pages  of  this  number,  and  must  be  seen  and 
scrutinized  in  order  fully  to  appreciate  the  high  development  to 
which  it  has.attained.  Included  in  this  American  revival  of  a mediaeval 
art  is  every  article  of  metal  work,  either  of  use  or  adornment,  used 
in  connection  with  the  doors,  windows  and  other  cabinet  work  of 
buildings  of  every  class.  Where  selected  or  designed,  as  it  usually  is, 
by  the  trained  judgment  and  taste  of  the  architect,  it  will  be  found  in 
perfect  harmony  with  its  architectural  surroundings,  whatever  may  be 
the  school  of  architecture  to  which  these  belong,  whether  Classic, 
Colonial,  Romanesque  or  Gothic.  Indeed,  it  is  to  the  encouragement 
and  support  of  leading  architects,  such  as  those  whose  works  have 
been  set  forth  in  this  and  preceding  numbers,  that  the  Company 
above  referred  to,  and  others  who  have  followed  its  example,  have 
been  justified  in  making  the  elaborate  and  costly  provision  of  facili- 
ties needed  for  the  production  of  these  works  of  art  and  in  gathering 
and  training  the  ccrps  of  artists  and  technical  experts  needed  for  their 
eft'ective  execution. 


A Louis  XVI. 
Door  Plate. 


DECORATION  IN  METAL. 


117 


However  much  artistic  metal  work  may  appeal  to  the  architect  as 
ail  element  in  his  general  scheme  of  decoration,  it  appeals  still  morp, 

in  the  case  of  private  residences,  to  the  owner  and,  above  all,  to  the 

lady  of  the  house,  as  affording  an  opportunity  where  the  judicious 
expenditure  of  money  yields  a more  effective  result  and  more  lasting 
pleasure  than  can  be  procured  at  equal  cost  in  any  other  way.  The 
metal  work  used  on  a door,  elaborate  and  costly,  or  simple  but 
dainty,  as  the  case  may  be,  is  like  the  jewel  on  a ^ 

handsome  costume,  which  serves  merely  as  a back-  '’p* 

ground  for  the  effective  setting  of  the  smaller  but 
more  costly  ornament  which  it  presents.  The  knobs, 
plates  and  hinges  of  a door  compel  notice  by  the 
prominence  of  their  form,  position  and  environment. 

If  inappropriate  and  unpleasing  they  obtrude  them- 
selves upon  all  who  enter  or  use  the  apartment ; if 
handsome  and  in  harmony  with  their  surroundings, 
they  arrest  attention  even  more  than  the  larger  and 
more  pretentious  articles  of  adornment  which  may 
surround  them.  A recent  development  is  a revival  or 
the  use  of  Glass  Knobs,  both  plain  and  handsomely 
cut  or  engraved,  which,  combined  with  appropriate 
metal  work,  produce  a most  pleasing  result,  especi- 
ally when  associated  with  Colonial  architecture. 

So  important  has  become  this  department  of  in- 
terior decoration  that  the  Yale  & Towne  Manufac- 
turing Company  has  provided  at  its  general  offices, 

Nos.  nine  to  thirteen  Murray  St.,  New  York,  and  in 
the  cities  of  Boston,  Philadelphia  and  Chicago,  hand- 
some Exhibit  Rooms,  where  architects  and  their  cli- 
ents, including  ladies,  may  conveniently  examine  the 
vast  and  varied  line  of  designs  included  in  its  pro- 
ducts and  thus  conveniently  and  intelligently  select 
those  which  are  best  adapted  to  any  intended  use,  and 
which  are  most  in  harmony  with  individual  tastes  and 
preferences.  By  availing  of  these  facilities  an  under- 
standing can  be  reached,  better  than  is  otherwise 
possible,  of  the  high  development  which  this  revival 
of  an  old  art  has  attained  in  America,  and  in  no  other 
wav  can  its  creations  so  fully  and  effectually  be  utilized  in  connection 
with  the  construction  of  new  buildings  or  the  redecoration  of  oil 
ones. 


A Renaissance 
Design. 


FIXTURES. 


1 T has  not  been  long  since  we  have  awak- 
*■  ened  to  the  fact  that  a room  can  be 
made  or  spoiled  in  the  lighting.  Ten  years 
ago  the  majority  of  our  houses  were  illumi- 
nated by  a rigid,  conventional  formula.  The 
“brownstone  front  era”  had  as  depressing 
an  effect  upon  the  allied  arts  as  it  had  upon 
dwelling-house  architecture.  Two  causes 
have  been  chiefly  responsible  for  the  change 
in  lighting  policy.  The  first  has  been  the 
development  of  the  incandescent  globe  and 
the  general  use  of  electricity.  The  second 
was  the  throwing  off  of  the  octopus  which 
had  held  residential  architecture  for  so  long.  With  the  develop- 
ment of  private  houses  along  the  lines  of  originality  and  individuality, 
came  a sympathetic  demand  for  a corresponding  advance  in  illumi- 
nating. 

The  system  of  lighting  which  has  been  carried  out  with  such  signal 
success  at  Georgian  Court  is  characterized  by  the  subordination  of 
the  fixtures  to  the  decorative  treatment  of  the  room.  Chandeliers  are 
gradually  being  done  away  with  in  a large  measure  and  their  place  is 
being  taken  by  sidelights.  With  the  many  and  varied  effects  which  can 
be  obtained  by  this  method  of  lighting,  the  principal  one  is  to  diffuse 
a pleasant  glow  without  the  effect  of  a blinding  glare  shining  directly 
in  the  eyes. 

When  we  say  the  fixtures  have  been  subordinated 
to  the  room,  we  are  far  from  meaning  that  they  have 
lost  any  importance.  As  a matter  of  fact,  never 
was  there  more  expensive  or  elaborate  work  than  is 
being  done  at  the  present  time.  But,  on  the  other 
hand,  the  fixtures  are  studied  to  conform  to  the 
room,  to  become  an  inseparable  and  integral  part 
of  it. 

A chandelier  composed  of  150,000  separate  and 
distinct  pieces  of  glass  sounds  more  like  the  Arab- 
ian Nights  than  an  actual  fact,  yet  this  is  one  of  the 
many  interesting  features  of  the  now  famous  Geor- 
gian Court.  The  number  on  paper  sounds  only  sta- 
tistical, and,  to  appreciate  what  it  really  means,  one 
has  to  see  the  chandelier  itself.  It  stands  in  the  Great 


FIXTURES. 


119 

Hall,  pendent  from  the  ceiling.  The 
style  is  a lustre  of  French  form,  done  in 
classic  detail.  From  this  fixture  a flood 
of  light,  softened  by  passing  through  a 
myriad  of  small  pieces  of  glass  like  uncut 
gems,  illuminates  the  room. 

To  those  who  can  appreciate  from 
mere  reading  the  artistic  effect  and  har- 
mony with  surroundings  that  can  be  ob- 
tained from  light  fixtures,  it  will  be  more 
than  interesting  to  take  a run  through 
the  house,  or,  to  be  more  explicit,  Geor- 
gian Court. 

In  the  dining  room  we  find  side  brack- 
ets of  a graceful  design  in  classic  detail. 
They  are  finished  in  green  and  gold  in 
harmony  with  the  predominating  color  of 
the  room.  The  brackets  in  the  music 
room  are  reproductions  of  the  famous  Louis  XV.  appliques  in  the 
Palace  of  Fontainbleau.  The  electric  lamps  are  in  imitation  of 
candle  flames,  and  are  covered  with  cream-colored  silk  shades.  The 
billiard  room  shows  an  excellent  piece  of  work  in  a fixture  that  is  so 
arranged  that  while  the  light  is  brilliant  all  shadows  are  neutralized. 
In  design  it  is  entirely  unique  in  character,  combining  a most  prac- 
tical method  of  lighting  a billiard  table  with  an  exceedingly  artistic 
piece  of  metal  work.  The  conservatory  brackets  are  in  classic  de- 
tail, finished  in  verde  antique,  and  are  of  an  interesting  and  unusual 
form.  The  library  fixtures  are  of  a simple  and  dignified  design  in 
Elizabethan  style  and  embody  the  quiet  feeling  of  the  room. 

In  connection  with  the  lighting  fixtures,  such  as  are  found  in 
Georgian  Court,  it  is  a matter  of  some  interest  to  know  what  the 
Black  & Boyd  Mfg.  Co.  is,  and  to  learn  something 
of  its  history.  Founded  by  two  young  men,  whose 
sole  capital  was  their  brains  and  experience,  the 
development  of  this  company  in  four  years  to  the 
point  where  it  could  design  and  execute  work  of  the 
important  character  that  has  just  been  described,  is 
something  short  of  marvelous  to  those  who  consider 
the  conditions  that  prevailed  in  this  branch  of  busi- 
ness during  the  past  few  years.  It  can  be  stated 
that  its  first  customer  is  still  a pleased  customer, 
and  has  ever  had  the  most  friendly  feeling  for  the 
firm  for  the  artistic  and  business-like  way  in  which 
it  executes  its  contracts.  Herein  lies  the  secret  of 
the  success  of  this  company,  which  started  and  de- 


120 


THE  ARCHITECTURAL  RECORD. 


U veloped  to  this  perfect  condition,  despite  the  most  dis- 
tressing business  conditions  that  have  prevailed  for 
many  years.  They  have  instituted  many  original 
ideas  and  the  success  of  these  has  been  attested  by  their 
being  adopted  universally  by  those  who  recognized 
their  merits.  When  new  models  were  wanted,  the  best 
artists  were  engaged,  and  whether  a new  artist  or  arti- 
san was  needed,  in  any  department,  the  most  profi- 
cient men  were  employed,  on  the  theory  that  the  best 
is  always  the  cheapest  in  the  end. 

There  has,  accordingly,  been  assembled  by  this 
company  a force  of  intelligent  and  capable  workmen 
under  competent  direction,  and  this  has  made  it  pos- 
sible for  them  to  execute  work  of  the  higher  order  that 
is  in  Georgian  Court.  Residences  in  nearly  every  city 
in  the  United  States  contain  the  work  of  this  company, 
and  among  them  the  following  are  a few  examples, 
showing  the  versatility  of  their  work  and  the  wide  range 
of  their  operations:  Residences  of  William  Iv.  Vanderbilt, 

Escp,  in  New  York  City  and  at  Oakdale,  L.  I.;  residences 
of  Mr.  William  C.  Whitney,  at  Aiken,  S.  C.,  and  West- 
bury,  L.  I . ; Biltmore,  the  residence  of  George  V anderbilt. 
Esq.;  residence  of  Washington  E.  Connor,  at  Seahright,  N.  J.,  and 
New  York  City;  and  of  Francis  Lynde  Stetson,  at  Ringwood,  N.  J. ; 
of  A.  D.  Juillard,  at  Tuxedo,  N.  Y.;  of  Harry  Payne  Whitney,  Stuy- 
vesant  Leroy,  Benjamin  Shaw  and  Elbridge  T.  Gerry,  at  Newport, 
R.  I.;  of  T.  J.  Oakley  Rhinelander,  N.  Y.  City;  residence  of  Howell 
Hinds,  Cleveland,  O.;  of  Henry  A.  Siegrist,  St.  Louis,  Mo.;  of  Isidor 
Hernsheim,  New  Orleans,  La.,  and  A.  Stern,  San  Francisco,  Cal. 


FURNITURE. 


LET  the  average  man  get  possession 
of  a house  and  the  first  idea  that 
suggests  itself  to  him  is  to  furnish  it.  He 
has  a vague  idea  that  some  Louis  of 
France  has  lent  his  name  to  a particular 
style  which  is  quite  familiar  to  him,  and 
that  Napoleon  gratified  his  vanity  by  em- 
ploying numberless  “N”s  for  decorative 
purposes.  This,  with  a few  ideas  he  has 
absorbed  by  noticing  the  houses  of  his 
friends  and  his  own  inherent  discrimina- 
tion between  furniture  intended  for  a 
drawing  room  and  that  designed  for  use 
in  a dining  room,  constitutes,  as  a general  thing,  his  knowledge  of 
the  subject. 

It  is  small  wonder,  then,  that  in  a great  number  of  houses  we  find 
furniture  totally  out  of  keeping,  and  at  variance  with  its  surround- 
ings. To  enter  some  rooms  in  these  houses  is  like  taking  a plunge 
into  cold  water. 

Nor  is  the  feeling  of  discord  confined  to  the  artistically  inclined. 
Many  people,  when  there  is  a jarring  note  in  the  harmony,  feel  in- 
stinctively that  something  is  wrong,  although  they  may  be  unable  to 
put  their  finger  on  the  specific  defect. 

It  is  evident,  then,  that  unless  we  are  people  of  unusual  good 
taste — and  what  a pitiful  few  of  us  there  are — we  must  rely  upon 
someone  who  has  made  the  subject  of  furniture  a study.  By  this  is 
meant  not  a person  who  has  a certain  eccentric  originality,  described 
by  many  as  “taste,”  but  one  whose  artistic  judgment  is  unquestion- 
able and  who  is  above  the  oftentimes  strik- 
ing but  transient  fads  of  the  hour. 

To  furnish  a house  like  Georgian  Court 
requires  as  much  earnestness  of  thought 
and  consideration  as  the  construction  of  the 
house  itself.  Every  piece  of  furniture  put 
into  this  house  was  made  from  special  de- 
signs, which  were  made  to  conform  to  the 
architectural  detail  and  general  color 
scheme  of  every  particular  room.  For  every 
piece  a full-sized  model  was  made,  and  the 
-carving  was  studied  in  a similar  manner. 


1 22 


THE  ARCHITECTURAL  RECORD. 


A glance  at  a few  of  these  rooms  will 
serve  to  show  the  way  in  which  the  furni- 
ture was  made  to  conform  to  the  house 
itself. 

The  chairs  in  the  dining  room  are  of 
mahogany,  covered  with  embroidered 
velvet  and  executed  in  the  style  of  the 
Georgian  Period. 

The  carvings  and  serving  tables  are  in 
the  same  wood  and  are  finished  with  or- 
molu gold  mountings.  The  dining  table 
is  oval  in  shape,  and,  while  it  is  thoroughly  in  keeping  with  the  style 
to  which  it  belongs,  it  possesses  marked  characteristics  of  design. 
The  library  table  and  the  chairs  are  of  “bog  oak”  and  are  covered 
with  blue  velvet.  They  are  richly  carved,  and  in  design  follow  the 
old  Italian  School. 

Louis  XIV.  has  furnished  the  inspiration  for  the  pieces  in  the 
Great  Hall.  They  are  gilded  with  powder  gold,  and  are  covered 
with  crimson  figured  silk  velour  and  ornamented  with  gold  galoons. 
The  furniture  in  the  music  room  is  richly  carved  and  gilded  with 
powder  gold.  It  is  covered  with  Aubusson  tapestry  from  designs 
made  and  executed  especially  for  this  purpose. 

The  drawing  room  pieces  are  also  in  gold,  the  gliding  being  done 
on  Circassian  walnut.  The  covering  is  tapestry.  In  the  main  suite 
is  a beautiful  bedstead  with  a canopy  in  the  style  of  Marie  An- 
toinette. The  woodwork  is  gilded  and  the  head  and  foot  boards  are 
tufted  with  silk  broche. 

In  the  principal  guest  chamber  is  a reproduction  of  early  colonial 
furniture  in  mahogany. 

Aside  from  uniformity  and  appropriateness  the  object  of  the  work 
has  been  to  obtain  absolute  perfection.  In  the  choice  of  woods,  in 
the  carving  and  in  all  details  of  mountings,  no  expense  nor  effort  was 
spared  to  obtain  the  best  material  and  talent  possible.  The  finish  on 
the  backs,  insides  and  unseen  parts,  is  equally  as  good  as  that  on 
the  outside,  and  every  individual  piece  of  furniture  is  put  together 

according  to  the  most  scientific 
principles  of  construction. 

These  have  been  indispensable 
factors  in  the  success  of  Theo.  Hof- 
statter  & Co.,  and  have  made  their 
name  stand  to-day  for  all  that  is  ar- 
tistic and  workmanlike  in  modern 
furniture. 

Theo.  Hofstatter  & Co.  are  a firm  of  over  forty  years  standing  and 
it  has  been  their  primary  aim  during  their  entire  business  career  to 


FURNITURE. 


123 


construct  only  the  highest  grade  of  furniture,  by  using  the  best  ma- 
terials, employing  only  the  most  skillful  workmen,  exercising  the 
most  intelligent  and  careful  supervision  and  paying  the  closest  at- 
tention to  details.  In  design,  they  follow  only  the  best  examples, 


striving  for  purity  of  style  rather  than  the  transient  fads  of  the  hour, 
and  avoiding  all  that  is  false,  tawdry  and  unstable. 

To  the  construction,  down  to  the  smallest  detail,  the  closest  atten- 
tion is  given,  and  it  is  a matter  of  pride  with  them  that  no  flaws  can 
be  found  in  their  products  and  that  it  is  on  a par  outside  and  in. 

The  best  artists  and  workmen  obtainable  are  on  their  staff,  a fact 
which  has  contributed  in  no  small  measure  to  their  success. 


DINING-ROOM,  GEORGIAN  COURT. 


FABRICS. 


I N the  completion  of  Georgian  Court  it  is  shown  that  it  is  possible 
* to  build  a magnificent  house,  and  at  the  same  time  make  a home. 
In  the  popular  mind  the  so-called  modern  palaces  have  been  asso- 
ciated with  public  art-galleries  and  official  habitations.  And,  if  the 
truth  be  told,  this  has  not  been  without  reason,  for  the  majority  of  the 
big  houses  of  the  day  have  an  air  of  cold  grandeur  that  is  anything 
but  homelike. 

The  owner  of  Georgian  Court  has  obviated  this  fault,  however, 
and  built  himself  a home  in  every  sense  of  the  word.  Every  detail 
of  the  house  is  characterized  by  the  highest  artistic  merit  both  in  its 
design  and  its  sympathy  with  other  artistic  factors  of  the  house. 

The  furnishing  is  on  a scale  seldom  before  attempted  in  this  coun- 
try, yet  at  the  same  time  it  has  been  done  with  such  good  taste  that 
gives  no  sense  of  repulsion  on  account  of  its  magnificence.  On  the 
contrary,  it  imparts  a feeling  of  hospitality  and  warmth  from  the 
moment  one  enters  the  Great  Hall.  The  bedrooms,  though  perfect 
in  every  detail,  are  striking  in  their  simplicity.  There  has  been  skill- 
fully avoided  in  them  that  sense  of  heaviness  which  seems  so  often 
inseparable  from  rich  furnishings.  At  the  same  time  they  are  faith- 
fully correct  in  all  cases  where  they  have  been  reproductions  of  his- 
torical models. 

To  reproduce  a patron’s  original  ideas,  at  the  same  time  blend- 
ing them  with  the  conventional  in  such  a manner  that  they  will  be 
enduring  in  attractiveness  is  the  highest  development  of  home  fur- 
nishing. Every  room  at  Georgian  Court  has  an  individuality  of  its 
own  that  gives  a feeling  of  being-  in  a private  room  of  a dwelling 
ratlier  than  in  the  show  room  of  a store-  This  has  not  been  the  result 
of  chance  but  hard  study  on  the  part  of  experienced  artists  and  de- 
signers. Tapestries  and  silks,  brocades  and  velours  have  been  es- 
pecially woven  and  tried  until  there  was  nothing  left  to  be  desired. 

As  we  enter  the  Great  Hall  we  are  struck  by  its  inviting  look. 
The  room  is  done  in  red.  The  walls  are  covered  with  tapestry  striped 
in  two  shades  of  red  in  sympathy  with  the  beautiful  frieze  which  runs 
around  three  sides  of  the  room  and  represents  scenes  from  Chaucer’s 
Canterbury  Tales.  The  furniture  is  covered  with  figured  silk  velour 
in  rose  tints.  The  hangings  have  plain  red  silk  below  to  match  the 
dark  shade  of  red  in  the  painting-.  All  the  rugs  are  made  especially 
to  fit  in  the  spaces  between  the  columns  and  are  red  in  tone  to  con- 
form to  the  general  color-scheme  of  the  interior.  They  are  Ax- 


126 


THE  ARCHITECTURAL  RECORD. 


minster  and  are  made  from  yarn  of  an  extremely  fine  texture  espe- 
cially spun  for  the  purpose. 

The  general  tone  of  the  dining  room  is  green.  The  curtains  are 
of  dark  apple-green  XVI. -century  silk.  The  portieres  are  of  the 
same  color  in  velvet  and  are  decorated  with  embroidery  and  paint- 
ing. The  chairs  are  covered  with  the  same  material  embroidered 
and  painted  in  designs  which  conform  to  the  shape  of  the  backs  and 
seats.  Two  Axminster  rugs  of  green  with  shaded  borders  cover  the 
floor. 

It  is  interesting  to  note  here  that  the  materials  used  have  been 
especially  woven  from  original  designs.  More  than  this,  each  and 
every  design  has  been  characteristic  of  the  period  which  it  repre- 
sents in  such  a manner  that  it  will  be  as  pure  in  design  fifty  years 
from  now  as  it  is  at  the  present  day. 

Passing  into  the  conservatory  we  find  the  furnishing  particularly 
appropriate.  The  portieres  are  of  specially  woven  linen  and  mohair 
material.  This  is  something  entirely  new  and  has  never  been  used 
before.  The  ground  color  is  green  with  figures  in  darker  shade  to 
harmonize  with  the  foliage. 

In  the  private  rooms  the  same  care  has  been  displayed  as  in  the 
more  public  places. 

In  the  apartments  set  aside  as  the  suite  of  honor  the  furnishings 
are  simple,  yet  elegant.  The  walls  in  the  sitting  room  are  covered 
with  figured  silk  taffeta  with  curtains  to  match.  The  walls  of  the 
bedrooms  are  in  cream-colored  taffeta  silk  with  a delicate  green- 
striped  figure. 

In  the  private  suite  the  walls  are  of  silk  taffeta  embroidered  in 
silk  on  the  edges.  The  drapery  over  the  bed  is  an  exact  reproduc- 
tion of  that  in  Marie  Antoinette’s  apartments.  The  shades  are  silk- 
in  the  tint  of  American  Beauty  roses  with  garland  insertions  and 
flounces  in  Duchess  lace. 

The  Purple  Room  is  finished  in  royal  purple  silk  damask,  with 
carpets  to  match  in  special  Axminster.  In  the  Cupid  Room,  so 
called  because  the  ceiling  is  decorated  with  flying  cupids,  the  walls 
are  in  a special  shade  of  lavender  satin. 

The  second  floor  is  decorated  in  red  and  carpeted  in  the  same  color. 
In  the  Green  Room  the  walls  are  covered  with  green  and  gold  figured 
silk  damask.  The  hangings  are  plain  green  silk  velour  and  the  rugs 
are  Axminsters  of  the  same  shade.  The  bed  coverings  are  green 
satin,  and  all  the  spreads  have  monograms  embroidered  on  them  in 
a lighter  shade  of  the  same  colors.  In  every  room  some  particular 
color  scheme  has  been  carried  out  completely,  yet  in  such  a manner 
that  it  is  not  offensive  or  tiresome  to  the  eye. 

There  is  one  impression  that  one  receives  more  strongly  perhaps 
than  any  other  in  seeing  Georgian  Court,  and  that  is  that  although 


FABRICS. 


127 


every  individual  room  or  suite  possesses  a distinct  individuality,  and 
in  design  and  general  conception  stands  apart  from  the  others ; 
nevertheless,  one  feels  a conviction  that  every  one  is  bound  to  every 
other  by  a subtle  artistic  relation,  and  that  nothing  could  be  spared 
without  forming  a break  in  the  whole  chain. 

All  of  the  fabrics  in  the  color  scheme  of  the  house  were  woven  by 
W.  and  J.  Sloane  in  the  colors  and  after  the  designs  of  the  decorator. 

This  firm  is  too  universally  known  to  need  any  introduction.  It  is 
interesting  to  see,  however,  what  they  are  doing.  The  silk  damask 
they  are  producing  is  fully  equal  of  the  French  goods.  Also  “chintz” 
of  variegated  colorings  in  fine  grades.  These  goods  sell  for  thirty 
per  cent,  less  than  the  French.  They  own  and  control  their  mills, 
which  are  by  far  the  largest  in  this  country  and  are  complete  in  every 
particular. 

The  American  wool  tapestries  are  rapidly  superseding  the  French, 
for  the  reason  that  they  can  be  bought  for  a more  reasonable  price 
than  the  foreign  article.  This  reduction  in  price  is  in  no  wise  due  to 
any  inferior  quality,  for  the  domestic  goods  are  fully  the  equal  of  the 
imported  both  in  color  and  design. 

Although  much  of  their  expensive  work  is  done  from  original  de- 
sign, yet  they  keep  constantly  in  stock  a full  line  of  fabrics  of  all  peri- 
ods, including  the  styles  of  the  several  Louis,  Empire,  Roccoco  and 
Colonial. 

To  better  supplement  their  decorative  work  they  make  special 
pieces  of  bronze  and  also  wall  paper  in  particular  styles  and  colors  to 
match  or  harmonize  with  hangings. 

In  short  they  can  furnish  a house  from  top  to  bottom  without 
using  an  article  or  a cloth  that  can  be  duplicated  from  stock  in  any 
shop  in  the  world. 


TERRA  COTTA. 


SINCE  the  introduction  of  architectu- 
ral terra  cotta  in  New  York  about 
the  year  1877  its  growth  and  develop- 
ment has  been  phenomenal.  Previous  to 
this  year  terra  cotta  was  used  principally 
to  imitate  stone  carving.  The  advent  of  the 
new  terra  cotta — the  term  “architectural” 
indicating  more  than  anything  else  that  it 
was  “used  as  terra  cotta" — gave  the  first 
impetus  to  the  use  of  the  material.  Pre- 
vious to  this  time,  for  some  unknown  rea- 
son, a prejudice  had  existed  against  terra 
cotta  on  the  ground  that  it  was  not  dur- 
able. This  fallacy  was  killed,  however, 
by  some  practical  demonstrations  of  its 
lasting  qualities  and  the  next  half  dozen 
years,  although  a sort  of  experimental 
stage,  showed  at  the  end  that  it  had  come 
to  stay. 

The  few  examples  of  its  use  twenty  years  ago  have  spread  almost 
beyond  expression  except  to  say  that  its  use  is  general  and  growing. 

Chicago  can  claim  the  credit  of  having  first  used  architectural  terra 
cotta  to  any  extent.  The  new  city  which  grew  up  on  the  shores  of 
Lake  Michigan  after  the  disastrous  fire,  was  the  pioneer  in  many  of 
the  important  building  inventions  of  the  day,  and  the  use  of  terra 
cotta  is  not  the  least  of  them.  Several  improvements  in  manufac- 
ture, such  as  the  tooled  surface,  did  away  with  the  objection  of  u in- 
adaptability to  certain  kinds  of  work  and  gave 
the  material  a decided  impetus. 

It  has  remained  for  the  Perth  Amboy  Terra 
Cotta  Co.  to  remove  what  might  be  called  the 
last  objection  to  the  unlimited  use  of  architect- 
ural terra  cotta ; namely,  the  question  of  color. 

Buffs,  yellows  and  various  shades  of  red  had 
been  manufactured  and  used  with  great  suc- 
cess, but  there  was  a negative  demand  for  a 
multi-colored  article.  Negative,  because  the  ar- 
ticle was  not  obtainable,  but  demand,  neverthe- 
less, because  it  was  necessary  to  have  it  in  order 
to  complete  certain  architectural  color  schemes. 


TERRA  COTTA. 


129 


With  the  enterprise  and  skill  which  has  long  been  characteristic  of 
their  work,  the  Perth  Amboy  Terra  Cotta  Co.  directed  their  attention 
to  producing  such  an  article,  and,  after  several  years  of  experiment- 
ing, they  have  at  last  been  rewarded  by  unqualified  success. 

The  secret  of  the  chemicals  used  is  known,  of  course,  only  to 
the  company’s  chemists,  but  the  process  itself  is  a comparatively  sim- 
ple one.  After  the  color  is  sprayed  on  it  is  baked  at  a high  tempera- 
ture and  takes  a brilliant  glaze — this  being  taken  off  with  a sand-blast. 

The  final  result  is  that  the  terra  cotta  is  absolutely  impervious  to 
weather,  has  a rich  color  or  colors  and  a dull,  smooth  finish. 

Although,  on  account  of  its  plastic  nature,  terra  cotta  lends  itself 
easily  to  the  most  graceful  and  subtle  modelling,  at  the  same  time  it 
has  only  been  during  very  recent  times  that  it  could  be  finished  in 
such  a way  as  would  fit  it  for  interior  work. 

In  the  process  of  making  polychrome  terra  cotta  not  only  is  it  pos- 
sible to  obtain  any  finish  from  a dull  vitreous  texture  to  a highly 
polished  glassy  surface,  but  there  can  be  produced  any  color  ranging 
in  depth  from  the  deepest  shades  to  the  most  delicate  tints. 

The  finer  productions  of  this  kind  of  work  shown  by  the  Perth 
Amboy  Terra  Cotta  Co.  approach  if  they  do  not  equal  the  beautiful 
specimens  of  della  Robbia  work,  the  making  of  which,  up  to  a short 
time  ago,  was  regarded  as  a lost  art. 

Thus  has  been  extended  the  sphere  of  usefulness  and  the  range  of 
adaptability  of  one  of  the  most  wonderful  mediums 
that  ever  offered  itself  to  the  architect  and  the 
sculptor. 

This  marvellous  advancement  from  a subordinate 
position  where  it  was  used  as  an  imitation  of  stone 
to  the  present  time  when  it  stands  individually  and 
supremely  as  a medium  of  ornamentation  and  a fac- 
tor in  engineering  is  one  of  the  most  important  and 
significant  happenings  in  the  history  of  modern 
building.  This  was  brought  about  only  by  the  most 
exhaustive  and  intelligent  labor  on  the  part  of  those 
to  whom  this  important  work  fell,  and  of  these  the 
Perth  Amboy  Terra  Cotta  Co.  is,  and  has  ever  been. 


9 


THE  ARCHITECTURAL  RECORD. 


1 3° 

more  than  any  other  organization,  instrumental  in  the  advancement 
of  an  art  which  we  would  be  tempted  to  consider  illimitable  if  we  did 
not  realize  that  it  has  already  reached  a period  of  comparative  per- 

boy  Terra  Cotta 
large  part  of  the  im- 
day,  as  is  evinced 
latest  completed 
man  Oelrich’s  resi- 
R.  I.,  the  Bayard 
67-69  Bleecker  St., 
Binghampton,  N. 
and  New  Jersey 
at  Newark,  and  the 
Metropolitan  Street 
St. 

The  above  list  has  been  selected  at  random  from  a vast  amount  of 
other  work  and  serves  to  show  with  the  few  buildings  subjoined  the 
versatility  and  wide  range  of  operations  of  the  company. 

The  Reading  Terminal  at  Philadelphia,  the  Masonic  Temple  at 
Boston  and  St.  Francis  de  Sales,  at  Providence,  R.  I.  The  terra 
cotta  in  this  church  was  glazed  in  colors.  The  cafe  of  the  Dun  Build- 
ing, at  Reade  St.  and  B’way,  New  York,  was  finished  in  polychrome 
and  glazed  terra  cotta. 

Among  the  school  houses  the  best  examples  are:  Public  Schools 
No.  167,  at  Mott  Av.  and  144th  St.;  No.  169,  at  Audubon  Av.  and 
168th  St.,  and  No.  173,  at  East  183d. 

The  Franciscan  Monastery  in  Washington,  D.  C.,  is  a splendid 
piece  of  terra  cotta  work.  The  material  for  the  house  of  Mr.  T.  F . 
Drvden,  at  Bernardsville,  N.  J.,  and  the  residences  of  Mr.  Wer- 
theimer and  Mr.  Kahn,  at  Morristown,  N.  J.,  was  also  furnished  by 
the  Perth  Amboy  Terra  Cotta  Co. 


The  Perth  Am 
Co.  are  doing  a 
portant  work  of  the 
by  a few  of  their 
contracts.  Mr.  Her 
dence  at  Newport, 
Building  at  Nos. 
Savings  Bank  at 
Y. ; the  New  York 
Telephone  Building 
Power-house  of  the 
Railway  Co.  at  95th 


THE  BUILDER. 


NE  of  the  most  flattering  evidences  of  confidence  in  a builder 


is  to  have  a contract  awarded  him  on  the  merit  of  his  work 


rather  than  the  fact  that  he  is  the  lowest  bidder.  This  speaks  far 
more  than  any  testimonial  that  was  ever  written,  for  it  shows  in  the 
most  practical  way  that  his  work  is  worth  more  to  a client  at  a higher 
price  than  that  of  his  cheaper  competitors.  Good  work  always  has 
been  and  always  will  be  appreciated,  and  therefore  will  always  com- 
mand a fair  price.  When  a man  spends  an  ordinary  fortune  upon 
such  a house  as  Georgian  Court  he  wants  a structure  that  will  endure. 
To  fill  many  houses  with  the  magnificent  furnishings,  decorations 
and  art  treasures  used  at  Lakewood  would  be  like  setting  the  Ivohi- 
noor  in  brass. 

Among  the  leisure  classes  there  has  been  a tendency  of  late  years 
to  build  more  and  more  in  the  country.  The  average  country  house 
of  the  wealthy  man  has  grown  from  a simple  and  moderate  priced 
dwelling  to  a palatial  residence  with  all  the  luxuries  and  conveniences 
of  a city  house.  In  many  cases  these  houses  are  intended  as  perma- 
nent homes,  and  neither  expense  nor  effort  has  been  spared  to  make 
them  fitting  receptacles  for  the  household  gods. 

With  the  advance  of  these  country  houses  to  an  equality  with  the 
most  magnificent  of  city  dwellings  their  construction  has  become  a 
problem  requiring  much  more  than  ordinary  intelligence,  and  a thor- 
ough and  practical  knowledge  of  each  and  every  branch  of  the  build- 
ing trades,  including  masonry,  carpentry,  iron  work,  roofing,  paint- 
ing, plumbing,  electrical  work,  heating,  etc. 

J.  IT.  LTTommedieu’s  Son  & Co.  have  been  prominently  identified 
with  this  out-of-town  building,  and  in  many  instances  have  per- 
formed all  the  work  on  the  places  necessary  to  put  them  in  a com- 
plete state.  This  not  only  includes  the  erecting  of  the  buildings,  but 
the  grading  of  the  grounds,  the  laying  out  and  macadamizing  of  the 
roads  and  paths,  together  with  seeding  down  the  lawns,  planting  the 
trees,  shrubbery,  etc.  Their  work  includes  many  of  the  best  known 
country  houses  that  have  been  built  in  the  last  score  of  years  in  the 
states  of  New  York,  New  Jersey  and  Connecticut.  The  many  mag- 
nificent structures  which  they  have  erected  in  these  places  are  flat- 
tering testimonials  to  the  excellence  of  their  work. 

There  is  an  air  of  substantial  lastingness  about  a house  constructed 
in  their  style  which  is  satisfying,  as  it  gives  an  air  of  solidity,  thick- 


!32 


THE  ARCHITECTURAL  RECORD. 


ness,  and,  by  reason  of  these,  comfort,  which  is  absent  in  buildings  of 
the  skeleton  type,  where  space  and  adaptability  to  public  usage  are 
the  chief  requisites. 

The  development  of  a palatial  structure  like  Georgian  Court  from 
the  first  step  to  the  time  when  the  owner  can  enter  it  and  find  it  com- 
plete to  the  minutest  detail  is  an  interesting  study  in  itself. 

Work  was  commenced  at  Georgian  Court  Dec.  29th,  1897.  The 
excavating  was  started  by  a shovelful  of  earth  being  thrown  outside 
the  building  line.  On  the  following  Monday  work  began  in  earnest 
with  men  and  teams,  and  from  that  time  until  its  completion,  on 
Christmas  Eve,  ’98,  it  was  the  scene  of  continuous  activity.  The 
foundations  of  Georgian  Court  rest  on  a bed  of  brown  building 
sand,  which  was  found  at  a depth  of  eight  feet  below  the  natural  sur- 
face of  the  ground.  Above  this  was  a conglomeration  of  white  sand, 
loam,  clay  and  marl  in  stratas,  veins,  layers,  and  mixtures.  Next  to 
solid  rock,  the  sand  on  which  this  building  rests  is  the  best  bottom  on 
which  to  start  foundations,  and  it  has  one  advantage  which  rock  has 
not,  and  that  is  it  will  absorb  all  surface  drainage,  and  therefore  in- 
sure a dry  cellar,  which  is  most  essential. 

The  foundations  and  walls  in  all  the  work  of  Georgian  Court  are  of 
hard  New  Jersey  brick,  laid  up  in  cement  mortar.  The  piers  and 
walls  supporting  the  greater  loads  are  laid  in  Portland  cement 
mortar.  The  quoins  of  the  building  and  all  arches  of  the  exterior  are 
made  of  the  Powhatan  Clay  Manufacturing  Co.’s  white  brick, 
moulded  to  forms  and  shapes  required.  The  terra  cotta,  all  of  which 
is  of  unique  design  and  detail,  is  cream  white  in  color  and  was  made 
by  the  Perth  Amboy  Terra  Cotta  Co.,  from  designs  and  models  ap- 
proved bv  Mr.  Price.  Some  of  this  terra  cotta  is  semi-glazed;  the 
rest  having  a dull  finish. 

The  marble  of  the  exterior  work  came  from  the  quarries  of  the 
Vermont  Marble  Co.,  at  Proctor,  Vt.,  and  the  excellence  of  the  ma- 
terial and  workmanship  speaks  for  itself.  The  main  walls  of  the  ex- 
terior are  finished  in  grayish  white  stucco,  made  of  Atlas  Portland 
cement  and  white  beach  sand,  applied  in  two  coats,  the  surface  being 
finished  with  Brussels  carpet  floats. 

The  floors  of  the  porches,  piazzas  and  terraces  are  laid  with  red 
terra  cotta,  Welch  quarries,  imported  especially  for  this  work.  The 
interior  workmanship  of  the  house  is  of  the  finest,  and  the  materials 
are  of  the  verv  best.  Among  the  marble  used  for  the  interior  work 
are  Green  Vermont,  Pavanazza,  Royal  Irish  Green,  Black  Egyptian 
and  Gray  Billear  Roman.  The  ornamental  plastering  must  be  seen 
to  be  appreciated.  The  woods  used  in  the  interior  work  are  quar- 
tered white  oak,  Zambesi.  East  Indian  mahogany,  San  Domingo 
mahogany,  white  pine  and  poplar. 

A notable  feature  of  the  entire  operation  was  the  sympathy 


THE  BUILDER. 


x33 


which  existed  between  the  owner,  the  architect  and  the  contractors 
Mr.  L’Hommedieu  was  quick  to  grasp  the  architect’s  idea,  and  they 
were  put  into  material  form  witli  faithful  regard  to  the  originals.  The 
result  of  this  is  plainly  shown  in  the  excellence  of  the  work  and  the 
entire  absence  of  any  of  the  jarring  minor  defects  which  are  so  often 
met  with  where  the  architect  and  the  builder  have  not  been  entirely  in 
accord. 

Mr.  Geo.  A.  L’Hommedieu  learned  the  building  trade  under  his 
father,  who  was  the  firm  of  J.  H.  L’Hommedieu.  On  the  death  of  the 
elder  Mr.  L'Hommedieu,  his  son  took  into  partnership  Mr.  John 
Clark  Udall,  the  style  of  the  firm  becoming  J.  H.  L’Hommedicu’s 
Son  & Co. 

Among  other  important  work  which  has  been  done  by  the  firm  are 
the  residences  of  Messrs.  J.  A.  & J.  W.  Roosevelt,  at  Oyster  Bay,  L. 
I.  In  New  York  City  they  built  Dr.  T.  G.  Thomas’  house,  at  No.  600 
Madison  avenue.  Among  the  out-of-town  houses  they  have  built 
are  included  the  residences  of  Judge  Horace  Russell,  Gen.  Thomas 
H.  Barber,  Dr.  Paul  Munde,  Mrs.  M.  B.  Caldwell  and  the  Misses 
Ray,  at  Southampton,  L.  I. ; those  of  Mrs.  Keith  Armistead,  at  New- 
port, R.  I.,  and  Mrs.  J.  C.  Pumpelly’s  house  at  Morristown,  N.  J.  For 
Mr.  T.  W.  Pearsall  they  built  a residence  at  Black  Rock,  Conn.,  and 
one  for  Mr.  T.  H.  Talmadge,  at  Moore’s  Pond,  N.  Y. ; also  the  res- 
idences of  Mr.  W.  L.  Stowe,  Mr.  James  E„  Martin  and  Mr.  George 
H.  Llolt,  at  Great  Neck,  L.  I.  In  addition  to  these  they  built  the 
houses  of  Mr.  A.  E.  Bateman, Mr. George  L.  Ronalds,  Mr.  William 
Kent,  Mr.  Alfred  Seaton  and  Mr.  W.  B.  Smith,  at  Tuxedo  Park, 
New  York. 

J.  H.  L’Hommedieu’s  Son  & Co.  have  confined  themselves  prin- 
cipally to  the  construction  of  the  finer  class  of  dwellings,  and  their 
greatest  success  and  reputation  has  been  achieved  along  these  lines. 
They  are  equipped,  however,  to  undertake  the  erecting  of  buildings 
of  every  kind,  no  matter  what  may  be  the  character  of  the  structure, 
or  the  conditions  of  the  problem. 


BRASS  ANDIRONS. 
Designed  by  Bruce  Price. 


BRONZE  DOOR  KNOCKER. 
Designed  by  Bruce  Price. 


Designed  by  Bruce  Price, 


THE  ARCHITECTURAL  RECORD 


P.  & F.  CORBIN, 

&rt  Minims  tn  Jlftftal, 


^ MANUFACTURERS  OF  BUILDERS’  HARDWARE. 

Offices,  ii,  13  & 15  Murray  Street,  New  York. 

Works,  New  Britain,  Conn. 


The  following  are  among  the  many  prominent  and  important  buildings 
supplied  with  hardware  by  this  firm  : 


HOTEL  CHATEAU  FRONTENAC, 

WASHINGTON  LIFE  INSURANCE  BUILDING, 
SINGER  BUILDING,  .... 

PARK  ROW  BUILDING,  - 
EMPIRE  BUILDING,  .... 

PARK  BUILDING,  ..... 
BOURNE  OFFICE  BUILDING,  - 
RESIDENCE  OF  F.  G.  BOURNE, 

FRANKLIN  BUILDING,  ...  - 

GRAND  CENTRAL  STATION, 

STANDARD  OIL  BUILDING.  - 

CHEMISTRY  BUILDING,  COLUMBIA  COLLEGE, 

ENGINEERING  BUILDING, 

THE  UNIVERSITY  OF  NEW  YORK, 


Bruce  Price,  Architeet 
Cyrus  L.  W.  Eidlitz,  Architect 
Ernest  Flagg,  Architect 
I\.  H.  Robertson,  Architect 
Kimball  & Thompson,  Architects 
George  B.  Tost,  Architect 
Ernest  Flagg,  Architect 
Ernest  Flagg,  Architect 
Clinton  & Russell,  Architects 
Bradford  L.  Giibert,  Architect 
Kimball  & Thompson,  Architects 
McKim,  Mead  & White,  Architects 

McKim,  Mead  & White,  Architects 

McKim,  Mead  & White,  Architects 


41 


THE  ARCHITECTURAL  RECORD. 


Marshall  Field  & Co. 

CHICAGO. 


Exceptional  facilities  are  possessed  for 
executing  orders  for  the  entire  furnishing,  in 
the  best  methods,  of  Residences,  Club-Houses, 
Hotels,  Churches  and  Theatres. 


DECORATIONS 


UPHOLSTERY 


FINE 

FURNITURE 


FLOOR 

COVERINGS 


Sole  Western  Agents  for  the  productions 
of  William  Morris,  consisting  of  Stained  and 
Painted  Glass  Windows,  Wall-Papers,  Arras 
Tapestry,  Silks,  and  Damasks,  Hand-Printed 
Cotton  Cloth,  Embroideries  and  Hand-Made 
Carpets  and  Rugs. 

Complete  assortments  constantly  in  stock 
of  Ancient  Tapestries,  Embroideries  and  Ori- 
ental Rugs;  Aubusson  Tapestry  Carpets,  Hang- 
ings and  Coverings  ; Special  Fine  Imported 
Furniture  in  the  French  Periods  ; Savonnerie 
Carpets  and  Embroideries;  Antique  Furniture. 

Exclusive  Agents  in  the  West  for  Teak- 
wood  carved  in  India  for  exteriors  and  interiors. 

Estimates  given  for  all  Interior  Decora- 
tions and  Furnishings. 


42 


THE  ARCHITECTURAL  RECORD. 


TURENNE 

French  Renaissance. 

RUSSELL  & ERWIN  MANUFACTURING 

COMPANY. 

BUILDERS  AND  OTHER  HARDWARE. 

New  Britain,  Connecticut. 

New  York.  Philadelphia.  Chicago.  Boston.  Baltimore.  London. 


43 


THE  ARCHITECTURAL  RECORD. 


ST.  PAUL  BUILDING, 
HAVEMEYER  STORES, 
EQUITABLE  BUILDING, 

WELD  ESTATE  BUILDING, 

COE  ESTATE  BUILDING, 

THE  PARK  BUILDING, 

EMPIRE  BUILDING, 

STANDARD  OIL  BUILDING, 
SHERRY  BUILDING, 

NEW  YORK  LIFE  INS.  BUILDING, 
UNIVERSITY  CLUB, 

EXCHANGE  COURT  BUILDING, 
METROPOLITAN  LIFE  INS.  BUILI 


George  B.  Post,  Architect 
George  B.  Post,  Architect 
George  B.  Post,  Architect 
George  B.  Post,  Architect 
Georg'e  B.  Post,  Architect 
George  B.  Post,  Architect 
Kimball  & Thompson,  Architects 
Kimball  & Thompson,  Architects 
McKim,  Mead  & White,  Architects 
Mclvim,  Mead  & White,  Architects 
McKim,  Mead  & White,  Architects 
Clinton  & Russell,  Architects 
NG,  N.  Le  Brim  & Son,  Architects 


A 'T'f  A ^ Portland 
^ * Lr/VO  Cement 


GUARANTEED  TO  BE  SUPERIOR  TO  ANY 
IMPORTED  OR  DOMESTIC  CEMENT 


ATLAS  CEMENT  CO. 


143  Liberty  Street,  New  York. 


AMERICAN  SURETY  BUILDING, 
RESIDENCE  GEO.  J.  GOULD,  ESQ., 
SINGER  BUILDING, 

MILLS’  HOTELS,  Nos.  i and  2, 
SCRIBNER  BUILDING, 

JOHNSTON  BUILDING, 
PRESBYTERIAN  BUILDING, 

BANK  OF  COMMERCE, 

GILLENDER  BUILDING, 

HARTFORD  FIRE  INS.  BUILDING, 
TOWNSEND  BUILDING, 

FIDELITY  AND  CASUALTY  BUILDING, 
WASHINGTON  LIFE  BUILDING, 


Bruce  Price,  Architect 
Bruce  Price,  Architect 
Ernest  Flagg,  Architect 
Ernest  Flagg,  Architect 
Ernest  Flagg,  Architect 
J.  B.  Baker,  Architect 
J.  B.  Baker,  Architect 
J.  B.  Baker,  Architect 
Berg*  & Clark,  Architects 
Cady,  Berg  & See,  Architects 
Cyrus  L.  W.  Eidlitz,  Architect 
Cyrus  L.  W.  Eidlitz,  Architect 
Cyrus  L.  W.  Eidlitz,  Architect 


THE  ARCHITECTURAL  RECORD. 


ST.  JAMES  BUILDING. 


A glance  at  some  of  the  prominent  building  operations 
for  which  READING  HARDWARE  COMPANY’S  Locks 
and  Art  Hardware  have  recently  been  furnished,  is  the  most 
convincing  proof  of  their  excellence. 


Following  is  a small  number  o(  such  1 uildings  in  New  York  and  vicinity  : 

BUILDINGS.  ARCHITECTS. 

ST.  JAMES  BUILDING BRUCE  PRICE. 

•GEO.  J.  GOULD'S  RESIDENCE.  AT  LAKEWOOD,  N.  J BRUCE  PRICE. 

COTTAGES  AT  TUXEDO  PARK BRUCE  PRICE. 

HOTEL  MARTINIQUE  H.  J.  HARDENBURG. 

EXCHANGE  COURT  CLINTON  & RUSSELL. 

BANK  OF  COMMERCE JAMES  B.  BAKER. 

ST.  PAUL  BUILDING GEORGE  B.  POST. 

CUSHMAN  BUILDING  C.  P.  H.  GILBERT. 

HOSPITAL  FOR  RUPTURED  AND  CRIPPLED C.  C.  HAIGHT. 

MRS.  CONVERSE'S  RESIDENCE,  No.  3 EAST  78th  STREET,  NEW  YORK. C.  P.  H.  GILBERT. 

DELMONICO’S  JAMES  BROWN  LORD. 

NEW  YORK  ATHLETIC  CLUB W.  A.  CABLE. 

BROOKLYN  TELEPHONE  BUILDING R.  L.  DAUS. 

GERMAN  HOSPITAL  R.  L.  DAUS. 

MRS.  DE  FOREST'S  RESIDENCE  AT  COLD  SPRING  HARBOR GROSVENOR  ATTERBURY. 

MORTON  BUILDING  CLINTON  & RUSSELL. 


Our  Sample  Rooms  at  New  York,  Philadelphia  and  Chicago  are  furnished  and  equipped 
in  modern  style  for  the  convenience  of  Architects  and  others  who  contemplate  building,  in 
making  selections  of  Designs  and  Finishes. 


Reading  Hardware  Company, 

READING,  PA. 


NEW  YORK : 

96  and  98  Reade  Street. 


PHILADELPHIA . 
617  Market  Street. 


CHICAGO  : 

105  Lake  Street. 


45 


THE  ARCHITECTURAL  RECORD. 


HAMILTON  B.  TOMPKINS, 

Presiden  t. 


ABSOLUTELY 

HYDRAULIC, 

UNIFORM, 


ESTABLISHED  1873. 


WILLIAM  C.  MORTON, 

Secretary. 


STRONGEST, 
DARKEST, 
THE  BEST. 


FAC-SIMILE  OF  BARREL  AND  LABEL. 


BROOKLYN  BRIDGE  BRAND’’ 

ROSENDALE  HYDRAULIC  CEMENT 

Was  used  in  constructing  the  following  prominent  buildings  and  structures  in 
New  York  and  vicinity,  on  account  of  superior  quality. 

NEW  YORK  AND  BROOKLYN  BRIDGE,  WASHINGTON  BRIDGE,  HARLEM  RIVER, 

EIGHTH  AVENUE  BRIDGE,  HARLEM  RIVER,  MADISON  AVENUE  BRIDGE,  HARLEM  RIVER, 
SECOND  AVENUE  BRIDGE,  HARLEM  RIVER,  MONONGAHELA  BRIDGE,  PITTSBURG,  PA. 

Have  Supplied  for  the  NEW  YORK  CROTON  AQUEDUCT,  in  1897  and  1898,  165,000  Barrels. 

WILLIAMSBRIDGE  RESERVOIR,  NEW  ROCHELLE  RESERVOIR, 

THE  NEW  YORK  CLEARING  HOUSE,  NEW  YORK  COFFEE  EXCHANGE, 

THE  BANK  FOR  SAVINGS,  THE  GERMAN  HOSPITAL, 

THE  HOTEL  MANHATTAN,  HOME  FOR  INCURABLES, 

WEBB  ACADEMY  HOME,  LANCASHIRE  FIRE  INSURANCE  CO., 

THE  MANHATTAN  STORAGE  BUILDING,  THE  MANHATTAN  LIFE  INSURANCE  CO., 

THE  MANHATTAN  STORAGE  AND  WAREHOUSE  CO.,  MUTUAL  RESERVE  FUND  LIFE  ASSOCIATION, 
MUSEUM  OF  NATURAL  HISTORY,  METROPOLITAN  REALTY  CO., 

THE  PRESBYTERIAN  HOSPITAL,  THE  ROOSEVELT  BUILDING, 

EAGLE  FIRE  INSURANCE  CO.,  WESTCOTT’S  STABLES, 

ST.  NICHOLAS  CLUB  HOUSE,  NEW  YORK  HOSPITAL  HOUSE  OF  RELIEF, 

PUBLIC  SCHOOLS,  STAPLETON,  S.  I.,  PUBLIC  SCHOOL,  DOBBS  FERRY,  N.  Y., 

EAGLE  WAREHOUSE  AND  STORAGE  CO.,  BROOKLYN, 

TERRACE  WALL  WATER  TOWER,  PROSPECT  HILL,  BROOKLYN, 

PUMPING  STATION,  PROSPECT  HILL,  BROOKLYN, 

POLICE  STATIONS,  4th,  11th,  12th,  13th,  18th  and  21st  PRECINCTS,  BROOKLYN, 

GAS  TANK  FOUNDATION,  FOOT  EAST  12th  STREET, 

FOUNDATION  FOR  PARK  BROS.’  STEAM  HAMMER,  PITTSBURGH,  PA. 

HEAVY  RETAINING  WALL  OF  P.  McK.  & Y.  R.  R.,  4th  ST.,  McKEESPORT,  PA. 

ROLL  TRAINS,  ETC.,  PITTSBURGH  BESSEMER  STEEL  CO.,  HOMESTEAD,  PA. 

RIVERSIDE  PENITENTIARY,  ALLEGHENY  CITY,  PA. 

BROOKLYN  POST  OFFICE,  GAS  WORKS,  STAMFORD,  CONN., 

MUSIC  HALL  AT  SAILORS’  SNUG  HARBOR,  PROTESTANT  HALF-ORPHAN  ASYLUM, 

CHURCH  AT  SAILORS’  SNUG  HARBOR,  NEW  JERSEY  AND  NEW  YORK  ABATTOIR, 

NEW  NETHERLANDS  HOTEL,  RAILROAD  MEN’S  CLUB  HOUSE  ADDITION, 

POWER  HOUSE,  65th  ST.  AND  3d  AVE., 

FIDELITY  AND  CASUALTY  CO., 

PUBLIC  SCHOOL.  STERLING  PLACE,  BROOKLYN, 
AMERICAN  LITHOGRAPHIC  CO.’S  BUILDING, 
PRESCOTT  BUILDING, 

NEW  YORK  BISCUIT  CO., 

MECHANICS’  AND  TRADERS’  P4NK.  BROOKLYN, 
PUMPING  STATION,  JAMAICA.  LONG  ISLAND,  ASCENSION  PARISH  SCHOOL,  BROOKLYN, 

BROOKLYN  WAREHOUSE  AND  STORAGE  CO.,  ST.  JOHN’S  LUTHERAN  CHURCH,  BROOKLYN, 

SOMER  BROS.’  BUILDING,  BROOKLYN,  MONONGAHELA  VIADUCT,  CITY  FARM  BRIDGE,  PA. 

SPECIFIED  AND  USED  ON 

COLUMBIA  COLLEGE  NEW  BUILDINGS,  NEW  YORK  TELEPHONE  BUILDINGS, 

PARK  ROW  OFFICE  BUILDING— 30  STORIES,  NEW  YORK  SUGAR  REFINERY,  L.  I.  CITY, 

ASTORIA  HOTEL— LARGEST  IN  THE  WORLD,  AMERICAN  MANUF’G  CO.  BUILDINGS,  BROOKLYN. 


EASTERN  DISPENSARY 
ST.  LUKE’S  HOSPITAL, 

EAGLE  BUILDING,  BROOKLYN, 
SHELDON  BUILDING, 
NAVARRO  FLATS, 

SAMPSON  BUILDING, 

BAR  ASSOCIATION  BUILDING, 


It  is  also  used  by  the  following  Companies: 

N Y.  CENTRAL  & HUDSON  RIVER  R.  R.  CO.,  BOSTON  & ALBANY  R.  R.  CO., 

THE  AMERICAN  SUGAR  REFINING  CO. 

AND  LARGELY  USED  BY  THE  UNITED  STATES  GOVERNMENT 

AT  FORT  MONROE,  VA. : FORT  WASHINGTON,  MD. ; FORT  PREBLE  AND  GREAT  DIA- 
MOND ISLAND,  PORTLAND,  ME  : FORT  APAMP  AND  THE  DUMPLINGS,  R.  I.:  FORT  MOR- 
GAN MOBILE,  ALA.;  FORT  CASWELL,  N.  C.;  FORT  WADSWORTH.  FORT  HAMILTON,  FORT 

SCHULYER  AND  PLATTSBURGH,  N.  Y. 

Leading  Architects,  Engineers  and  Builders  Specify  and  Use  it. 

THIS  CEMENT  IS  ABSOLUTELY  HYDRAULIC.  DARK,  FINELY  GROUND,  UNIFORM; 
STANDS  THE  HIGHEST  TESTS,  AND  WILL  PERMIT  THE  USE  OF  THE  LARGEST  PROPOR- 
TION OF  SAND.  ESPECIALLY  ADAPTED  FOR  HEAVY  MASONRY,  SEWERS  AND  CONCRETE 
WORK.  NET  WEIGHT  300  LBS.  PER  BARRELL. 

fgy  Call  for  and  Insist  on  this  Brand  Being  Delivered. 

It  is  the  Best,  therefore  the  Cheapest.  N.  B.  For  Sale  by  All  Masons’  Material  Dealers. 

NEW  YORK  AND  ROSENDALE  CEMENT  CO.( 

Sales  Office,  280  Broadway,  New  York  City. 


THE  ARCHITECTURAL  RECORD. 


H prominent  JSuilMno  anfc  a prominent  Cement. 


B portion  of  H-tcw  lj)orh  from  tbe  IRortb  TRiver. 

Tlbe  entire  stone  work  anb  brief?  backing  of  tbe  Hmerican  Suretp 
Butlbing,  tbe  highest  builbtng  in  above  picture  set  with  “Xafarge” 
non*staining  cement 

H Cement  of  tbe  Ibigbest  Cinalitv* 

Bruce  price,  architect.  e.  Z.  Mills,  asutuwt. 

“Xafarge”  not  stam  limest:cmet  granite  or  marble  anb  is 

- tbe  strongest  cement  mabe.  jfor  Bjrtertor  Stucco 

construction  anb  tbe  finer  uses  of  portlanb  dement,  “Xatarge” 
is  strongiv  recommenbeb. 

Jfull  information  cbeerfullp  furnisbeb  bv  tbe  sole  agents 

Sears,  Ibnmbcrt  & Co., 

Si  S3  jf niton  Street,  mew  Jliork. 

34  & 36  Clark  Street,  434  flirubential  Butlbing, 

Chicago.  Buffalo,  1R.  Jj). 


47 


THE  ARCHITECTURAL  RECORD. 


BRUCE  PRICE 


The  most  important  productions  of  artistic  metal- 
work, in  bronze  and  wrought-iron,  for  “Georgian 
Court”  the  residence  of  Geo.  J.  Gould,  Esq., 
Lakewood,  N.  J.,  executed  by  Jno.  Williams,  can 
be  seen  in  the  illustrations  of  this  book.  ^ ^ 

A PARTIAL  LIST  IS  AS  FOLLOWS: 


Cast  Brass  (gold-plated)  Stair-Railing  and  Balconies  in 
Main  Hall. 

Wrought-iron  Grille  Doors  for  Main  Entrance  to  House. 
Wrought-iron  Fence  and  Drive-way  Gates. 

Cast  Bronze  Lions  (verd  antique)  on  Gate-posts. 
Wrought-iron  Electric  Light  Standards  in  grounds. 
Bronze  “Mercury”  weather-vane  on  Stable. 


Crystal  Closet.  (Bronze,  silver-plated  and  glass.) 

China  Closet.  (Bronze,  silver-plated  and  leaded  glass.) 
Curio  Cabinets  (Louis  XVth.)  Cast  bronze  (gold-plated) 
and  plate  glass. 

Radiator  Screens. 

Furniture  Trimmings:  Caps,  Bases,  Mouldings,  Handles. 

Escutcheons,  &c. 


JNO.  WILLIAMS 

Bronze  Foundry  and  Works  544  to  556  W«  St  27th  Street 

Wrought  Iron  Works  N EW  YORK 


48 


THE  ARCHITECTURAL  RECORD. 


VERMONT  MARBLE  CO. 

Producers  and  Hanufacturers  of 

Vermont  Marble. 


An  unlimited  supply  and  large  facilities  for  manufacturing, 
enable  us  to  guarantee  very  prompt  execution  of  all  contracts 
for  exterior  or  interior  marble. 

Office,  No.  215  West  125th  Street, 

NEW  YORK  CITY. 


BRANCHES: 

BOSTON:  8 Thacher  Street.  CHICAGO:  570  North  Water  Street. 

PHILADELPHIA:  201  South  30th  Street.  ST.  LOUIS  : 1 n 5 South  7th  Street. 
CLEVELAND  : 265  Merwin  Street.  SAN  FRANCISCO  : 244  Brannan  Street. 


We  are  supplying 
at  Lakewood. 


all  the  marble  being  used  in  buildings  of  Hr.  Geo.  J.  Gould, 

BRUCE  PRICE,  Archt. 


40 


THE  ARCHITECTURAL  RECORD. 


ARTISTIC  MEMORIALS. 


WINDOWS. 

Oar  memorial  windows  are  made  of  TIFFANY  FAVRILE  GLASS,  which 
is  produced  exclusively  at  our  own  furnace,  and  cannot  be  obtained  from 
other  makers  or  used  by  any  other  artists.  In  range,  depth,  and  brilliancy 
of  color  it  has  never  been  equalled,  and  when  we  employ  it  in  window  work 
the  greatest  care  is  exercised  in  selecting  the  pieces  in  order  that  we  may 
obtain  the  desired  effect  both  in  color  and  texture.  The  selection  is  made 
by  a trained  artisan,  under  the  supervision  of  an  artist.  Special  designs  and 
estimates  submitted. 

Historical  Booklet  (Illustrated)  sent  upon  request. 


TABLETS. 

Memorial  Tablets,  Ancient  and  Modern,  Honorary  and  Mortuary,  in 
Bronze,  Brass,  Mosaic  and  Marble.  Our  varied  and  always  original  designs 
are  made  to  meet  the  architectural  and  artistic  conditions  of  their  surround- 
ings. Of  all  forms  of  memorials  the  tablet  is  the  LEAST  EXPENSIVE, 
especially  where  permanence  is  desired  in  unison  with  good  taste.  Special 
designs  and  estimates  submitted. 

Historical  Booklet  (Illustrated)  sent  upon  request. 


MONUMENTS. 

Out-of-Door  Memorials,  Mausoleums,  Tombs,  Headstones,  and  all  forms 
of  mortuary  monuments  of  our  construction  possess  both  Beauty  of  Design 
and  Durability.  In  Marble,  Granite,  or  Bronze,  our  work  always  maintains 
the  correct  structural  proportions,  the  proper  relation  of  ornament  to  form, 
with  the  whole  in  harmony  with  the  environment,  thus  making  the  most 
modest  memorial  a WORK  OF  ART.  Special  designs  and  estimates 
submitted. 

Historical  Booklet  (Illustrated)  sent  upon  request. 


TIFFANY  STUDIOS: 


TIFFANY  GLASS  AND  DECORATING  CO. 

Historical  Booklet  about  Glass  Mosaic  (Illustrated) 
also  upon  request. 


333-341  FOURTH  AVENUE, 
NEW  YORK. 


THE  ARCHITECTURAL  RECORD. 


GORHAM  MFG.  CO., 

£>ilucrsniitl)s, 

BRASS  AND  BRONZE  FOUNDERS. 


■At  -At  ‘At  At 

BRONZE  DEPARTMENT, 

BROADWAY  AND  NINETEENTH  STREET, 

NEW  YORK. 

Bronze  and  Brass  Work  for  Domestic  and  Ecclesiastical 
use,  made  to  order  from  Architects’  designs. 


Bronze  Monumental  Work  of  every  description.  Mau- 
soleums and  Vault  Doors,  Grates,  Grilles,  Railings,  Mem- 
orial Tablets,  etc. 


Bronze  Foundry.  We  call  the  attention  of  Architects  and 
Sculptors,  and  others  interested,  to  the  facilities  for  the 
casting  of  Bronze  Art  Work,  at  our  extensive  foundries 
at  Providence,  R.  I.,  and  New  York  City. 


ARTISTIC  METAL  WORK 

FOR  CHURCII  PURPOSES. 


STAINED  GLASS, 

DOMESTIC  and  ECCLESIASTICAL  DECORATIONS  and  MEMORIALS. 


MEMORIAL  WINDOWS,  MOSAICS,  ETC. 

From  the  London  studios  of  Messrs.  HEATON,  BUTLER  & BAYNE 
for  whom  we  are  Sole  Agents. 


Photographs  of  work  already  executed,  and  estimates,  on  application. 


51 


THE  ARCHITECTURAL  RECORD. 


Booth  Bros.  & Hurricane  Isle 
Granite  Co., 

207  BROADWAY,  NEW  YORK. 

Telephone,  No.  3134  Cortlandt. 


GENERAL 
CONTRACTORS  IN 


Granite 


Quarries  in  Maine  and  Connecticut. 


BRANCH  OFFICES:  NEW  LONDON,  CONN.;  ROCKLAND,  MAINE. 


The  following  is  only  a partial  list  of  the  contracts  for  granite  which  we 
have  furnished  this  season  : 


BUFFALO  SAVINGS  BANK,  Buffalo Green  & Wicks 

AMERICAN  MUSEUM  OF  NATURAL  HISTORY,  Central  Park  West Cady,  Berg  & See 

NEW  YORK  HOSPITAL  BUILDING Cady,  Berg  & See 

VINCENT  BUILDING,  Broadway  and  Duane  St Geo.  B.  Post 

APARTMENT  HOTEL,  85th  St.  and  Madison  Ave Schickel  & Ditmars 

ST.  VINCENT  HOSPITAL,  11th  St.  and  Second  Ave Schickel  & Ditmars 

PHELPS-DODGE  BUILDING,  John  and  Cliff  Sts Clinton  & Russell 

COMMERCIAL  BUILDING,  15th  St.  and  Sixth  Ave Ralph  S.  Townsend 

APPELLATE  COURT  BUILDING,  25th  St.  and  Madison  Square N.  Le  Brun  & Sons 

NEW  YORK  TURN  VEREIN,  84th  St.  and  Lexington  Ave Israels  & Harder 

CLARK  ESTATE  HOUSE,  Riverside  Drive  Ernest  Flagg 

JENNINGS  RESIDENCE,  East  72d  St Ernest  Flagg 

PUCK  BUILDING,  Crosby  and  Houston  Sts Albert  Wagner 

CHURCH,  145th  St.  and  Convent  Ave Lamb  & Rich 

CLARA  DE  HIRSH  HOME,  East  63d  St Brunner  & Tryon 

RAWITZER  BUILDING,  Canal  and  West  Sts Brunner  & Tryon 

METROPOLITAN  LIFE  BLDG  (23di  St.  Extension)  Madison  Ave N.  Le  Brun  & Sons 

SLOANE  BUILDING  (addition  to),  19th  St.  and  Broadway W.  Wheeler  Smith 

APARTMENT  HOTEL,  80th  St.  and  Columbus  Ave Buchman  & Deisler 

AUDUBON  AVENUE  SCHOOL C.  B.  J.  Snyder 

20TH  STREET  SCHOOL C.  B.  J.  Snyder 

116TH  STREET  SCHOOL C.  B.  J.  Snyder 

77TH  STREET  SCHOOL C.  B.  J.  Snyder 

CITY  ISLAND  SCHOOL C.  B.  J.  Snyder 

MAGDEBURGH  BUILDING • Howell  & Storks 

GOLD  ST.  AND  MAIDEN  LANE Jordan  & Gillis 

PENNIMAN  RESIDENCE,  Fifth  Ave Babb,  Cook  & Willard 

WASHINGTON  SQUARE  Thom  & Wilson 

COMMONWEALTH  BUILDING,  Broadway  and  Canal  St Jordan  & Gillis 

CITY  DEPOSIT  BANK,  Pittsburg Mowbray  & Ufftnger 

THE  REAL  ESTATE  TRUST  CO.,  Philadelphia Wilson  Bros.  & Co. 


THE  ARCHITECTURAL  RECORD. 


ASTORIA  HOTEL. 


B. 


A.  & 


G.  N.  WILLIAMS. 

(INCORPORATED.) 


Cut  Stone  Contractors, 


Avenue  A and  G S t h Street, 


New  York. 


REFER  TO  THE  FOLLOWING: 


Buildings. 

ASTORIA  HOTEL  

WASHINGTON  LIFE  INSURANCE  BUILDING 

LIBRARY.  NEW  YORK  UNIVERSITY  

PARK  ROW  BUILDING 

CONSTABLE  BUILDING  

PRESBYTERIAN  BUILDING  

NEW  YORK  SAVINGS  BANK 

CABLE  BUILDING  

NEW  BAR  ASSOCIATION  BUILDING 

FREE  CHURCH  OF  ST.  MARY  THE  VIRGIN. 

MANHATTAN  HOTEL  

HOTEL  SAVOY  

HOLLAND  HOUSE  

TOWER  BUILDING  

GILLENDER  BUILDING  

CORN  EXCHANGE  BANK 

RESIDENCE  OF  T.  WYMAN  PORTER,  ESQ..  . 
RESIDENCE  OF  CHAS.  T.  YERKES,  ESQ.  ... 

RESIDENCE  OF  HON.  LEVI  P.  MORTON 

RESIDENCE  OF  ISAAC  STERN,  ESQ 

RESIDENCE  OF  R.  M.  HOE,  ESQ 

UNITED  CHARITIES  BUILDING  

STORE  OF  B ALTMAN  & CO 

MILLS  BUILDING  NO.  2 

SHOE  AND  LEATHER  BANK  

NEW  KNICKERBOCKER  THEATRE 

MORTON  BUILDING  

RESIDENCE  OF  JOHN  D.  CRIMMINS 

HEBREW  CHARITIES  BUILDING  

NEW  YORK  HOSPITAL  BUILDING 

RESIDENCE  OF  W.  E.  D.  STOKES 

ST.  LUKE'S  HOME  

RESIDENCE  OF  F B.  HOFFMAN 

BARON  DE  HIRSCH  TRADE  SCHOOL 


Architects. 

. . . .Henry  J.  Hardenbergh 

Cyrus  L.  W.  Eidlitz 

...McKim,  Mead  & White 

R.  H.  Robertson 

Schickel  & Ditmars 

Rowe  & Baker 

R.  H.  Robertson 

...McKim,  Mead  & White 

Cyrus  L.  W.  Eidlitz 

N.  Le  Brun  & Son 

. . . .Henry  J.  Hardenbergh 

Ralph  S.  Townsend 

Harding  & Gooch 

J.  B.  Baker 

Berg  & Clark 

R.  H.  Robertson 

Clinton  & Russell 

R.  H.  Robertson 

...McKim,  Mead  & White 

Schickel  & Ditmars 

Carrere  & Hastings 

Robertson,  Rowe  & Baker 

Kimball  & Thompson 

Ernest  Flagg 

Cady,  Berg  & See 

. .J.  B.  McElfatrick  & Son 

Clinton  & Russell 

Schickel  & Ditmars 

De  Lemos  & Cordes 

Cady,  Berg  & See 

...McKim,  Mead  & White 
.Trowbridge  & Livingston 

Carrere  & Hastings 

. ..  .Friedlander  & Dillon 


THE  ARCHITECTURAL  RECORD. 


FRED.  W.  MEEKER. 


JAS.  W.  CARTER. 


J.  FRANCIS  BOORAEM. 


Meeker,  Carter  & Booraem, 

No.  i Madison  Avenue,  New  York, 


SELLING  AGENTS  FOR 

ORNAMENTAL  FRONT  BRICK  IN  ALL  COLORS, 
ENAMELED  BRICK  AND  TILE, 

PAVING  BRICK, 

ESTIMATES  ROOFING  TILE, 

FIRE-PROOFING  MATERIALS, 
FIRE  BRICK,  ETC. 

Representatives  of  the  following  Companies  : 


GIVEN  ON 

FIRE-PROOF  WORK 

OF  ALL  DESCRIPTIONS. 


Kittanning  Brick  and  Fire  Clay  Co. 

Manufacturers  of  Front  Bricks  in  all  shades. 
Annual  Output  7,000,000  Bricks. 

Dagus  Clay  Manufacturing  Co. 

Manufacturers  of  Fkont  Bricks  in  all  shades. 

Ludowici  Roofing  Tile  Co. 

Celebrated  Interlocking  Roofing  Tile. 


Eastern  Paving  Brick  Co. 

High  Grade  Vitrified  Paving  Brick. 

Brush  & Schmidt, 

Manufacturers  of  Superior  Quality  Red 
Pressed  Brick,  Buffalo,  N.  Y. 

Standard  Fire-proofing  Co. 

Flue  Lining,  Sewer  Pipe,  Fire  Brick,  Etc. 

The  Farnley  English  Glazed  Bricks, 

Imported  in  all  colors. 


JULIUS  A.  STURSBERG, 

President. 


J.  Y.  V.  BOORAEM, 

Vice-President. 


J.  FRANCIS  BOORAEM, 

Sec’y.  and  Treas. 


American  Enameled  Brick  and  Tile  Company, 

No.  1 Madison  Avenue,  New  York. 


M—rso,.. ENAMELED  brick.  south'rTver,  n.  j 

Telephone  ■ I 75'  Eighteenth  St.,  New  York, 
t elepnone  . , sA_  South  Rjveri  N j 


54 


THE  ARCHITECTURAL  RECORD. 


STABLE  AT  GEORGIAN  COURT. 

70,000  enameled  brick  used  in  this  stable  supplied  by 

SAYRE  & FISHER  CO., 

JAS.  R.  SAYRE,  Jr.  & CO.,  Agents, 

207  BROADWAY,  Corner  of  Fulton  Street,  NEW  YORK. 


FINE  PRESSED  FRONT  BRICK,  ENAMELED  BRICK. 
HARD  BUILDING  BRICK,  FIRE  BRICK. 


HOLLOW  BRICK. 


BUILDINGS. 

AMERICAN  SURETY  BUILDING  

WELSH  DORMITORY,  YALE  COLLEGE. 

MANHATTAN  LIFE  BUILDING  

EMPIRE  BUILDING 

SCOTT  & BOWNE  BUILDING 


Quantity  Front  Brick. 

200,000 

50,000 

.200,000 

.350,000 

.200,000 


ARCHITECTS. 

BRUCE  PRICE 

BRUCE  PRICE 

.KIMBALL  & THOMPSON 
.KIMBALL  & THOMPSON 
..SCHICKEL  & D1TMARS 
..SCHICKEL  & DITMARS 

CLINTON  & RUSSELL 

CLINTON  & RUSSELL 

...H.  J.  HARDENBEIRGH 
...H.  J.  HARDENBEIRGH 
...PEABODY  & STEARNS 
.PEABODY  & STEARNS 


SETON  SANITARIUM  100,000 

MUTUAL  LIFE  INSURANCE  CO 250,000 

WOODBRIDGE  BUILDING  450,000 

DAKOTA  APARTMENTS  300,000 

THE  TAYLOR  BUILDING  250,000 

CENTRAL  BUILDING  500,000 

LUDLOW  BUILDING  150,000 

THE  POSTAL  TELEGRAPH  BUILDING 150,000 HARDING  & GOOCH 

COMMERCIAL  CABLE  BUILDING 350,000 HARDING  & GOOCH 

VARICK  STREET  STORES.  200,000 CHAS.  C.  HAIGHT 

HOSPITAL  FOR  RUPTURED  AND  CRIPPLED ...  175,000 CHAS.  C.  HAIGHT 

PRESBYTERIAN  BUILDING  100,000  JAS.  B.  BAKER 

BANK  OF  COMMERCE  450,000  JAS.  B.  BAKER 

COFFEE  EXCHANGE  100,000 R.  W.  GIBSON 

MILL’S  HOTELS  700,000 ERNEST  FLAGG 

CORCORAN  ART  GALLERY. WASHINGTON,  D.  C.  50,000 ERNEST  FLAGG 

BOWLING  GREEN  BUILDING  750,000 W.  & G.  AUDSLEY 

THE  BREAKERS,  NEWPORT,  R.  I.,  (7,000,000  hard  building  brick  used) RICHARD  M.  HUNT 

55 


THE  ARCHITECTURAL  RECORD. 


BATTERSON  & EISELE, 

JVIosaie  (Xlorkers. 

ROMAN  AND  VENETIAN  MOSAIC  FOR  FLOORS,  WALLS,  MANTELS,  ETC. 

RICH  OR  PLAIN  DESIGNS. 


IMPORTERS  AND  workers  MARBLE,  ONYX  AND  GRANITE. 

Office:  431  Eleventh  Avenue,  Bet.  35TH  and  36TH  Sts. 

Steam  Mill  and  Works:  425-433  Eleventh  Avenue. 


NEW  YORK 


THE  ARCHITECTURAL  RECORD. 


MANTEL  OF  ROYAL  IRISH  GREEN  MARBLE  IN  RESIDENCE  OF  GEORGE  J.  GOULD, 
ESQ.,  LAKEWOOD,  NEW  JERSEY. 

Bruce  Price,  Architect.  Executed  by  R.  C.  Fisher  & Co. 


ROBERT  C.  FISHER  & CO., 

(Successors  to  FISHER  & BIRD) 

JVIarble  Workers. 

97-103,  100-106  EAST  HOUSTON  STREET, 

NEW  YORK  CITY. 


IMPORTERS  OF  AND  WORKERS  IN  FINE  MARBLES. 


57 


THE  ARCHITECTURAL  RECORD. 


DESIGNED  BY  BRUCE  PRICE 


White,  Potter  & Paige  Mfg.  Co. 


Designers  and  Manufacturers  of 


FINE  CABINET  WORK 


41s  WILLOUGHBY  AVENUE.  BROOKLYN,  N.  Y. 

TELEPHONE,  273  WILLIAMSBURGH 


26  West  24th  Street,  New  York  City 


The  details  shown  on  this  page  are  from  the  Main  Doorway  in  the  Great  Hall  at 
Georgian  Court,  Lakewood,  N.  J.,  and  were  executed  by  White,  Potter  & Paige 
Mfg.  Co.,  from  designs  by  Bruce  Price,  Architect. 


58 


THE  ARCHITECTURAL  RECORD. 


PIANO  IN  GEORGIAN  COURT,  THE  RESIDENCE  OF  GEO.  J.  GOULD,  ESQ. 

STEIN  WAY  & SONS 

CALI,  THE  ATTENTION  OK 

Architects,  Designers Lovers  °r  Art 

TO  THEIR 

Special  Department  of  Artistic  Case  Making 

QTEINWAY  & SONS  manufacture  piano-cases  to  order  in  accordance  with  every  style 
and  period  of  art,  submitting  original  designs  with  estimates  upon  application.  They 
also  manufacture  cases  to  order  after  the  plans  of  architects  or  decorators,  who  are  allowed 
the  privilege  of  inspecting  the  execution  of  their  designs,  guaranteeing  the  perfection  of  their 
case-construction  and  preserving  the  highest  standard  of  acoustic  qualities. 

The  only  Art  Hall  in  the  world  devoted  exclusively  to  specially  constructed  and  deco- 
rated art  piano-cases. 

STEINWAY  & SONS 


NO.  109  EAST  14TH  STREET,  NEW  YORK 


1'HE  ARCHITECTURAL  RECORD. 


FRIEZE  FOR  LIBRARY  OF  GEORGIAN  COURT. 


G.  E.  WALTER 

^ MODELER,  DESIGNER 

And  Manufacturer  of... 

Plaster,  Papier  Mache  and  Composition  Decorations 
Models  made  for  Bronze,  Wood,  Brass,  Stone,  etc. 
in  an  Artistic  Manner 

157  East  44th  Street,  New  York 

Telephone,  466-38th  Street 


THE  ARCHITECTURAL  RECORD. 


Private  Lighting  Plant 

Mr.  George  J.  Gould’s  Residence,  Lakewood,  N.  J. 

CONSISTING  OF 

1-30  H.  P.  Westinghouse  Gasoline  Engine  and  Generator 
1-90  “ 


All  Necessary  Switchboards  and  Apparatus 

BUILT  AND  INSTALLED  BY 

Westinghouse,  Church,  Kerr  & Co.,  Engineers 
Westinghouse  Machine  Co.,  . Manufacturers 
Westinghouse  Electric  & Mfg.  Co. 

Pittsburg,  Pa.,  and  all  Principal  Cities  in  U.  S. 


THE  ARCHITECTURAL  RECORD. 


Otis  Elevator  Company. 

7 1 BROADWAY,  NEW  YORK. 

THE  OTIS  ELEVATOR 


PARTIAL  LIST  OF  IMPORTANT  BUILDINGS 
EQUIPPED  WITH  OTIS  ELEVATORS. 


Biltmore — Residence,  Geo.  W.  Vanderbilt,  Esq 

The  Breakers — Residence,  Cornelius  Vanderbilt,  Esq 

Residence,  Elbridge  T.  Gerry,  Esq 

St.  Paul  Building 

Havemeyer  Building  

Union  Trust  Building 

New  York  Life  Insurance  Building 

Madison  Square  Garden 

Metropolitan  Club  

Townsend  Building  

Washington  Life  Insurance  Building  

New  York  Bar  Association 

Mohawk  Building 

McIntyre  Building  

Van  Ingen  Building 

Schermerhorn  Building  (23d  Street) 

Astor  Building  

Martinique  Hotel 

Metropolitan  Opera  House  

National  Shoe  and  Leather  Bank 

Hartford  Fire  Insurance  Building 

Varick  Street  Warehouses  

Lawyers’  Title  Insurance  Building 

N.  Y.  Orthopaedic  Hospital 

Mutual  Life  Insurance  Building 

Woodbridge  Building  

Sampson  Building  

Mail  and  Express  Building 

Pierce  Building  

Residence  of  H.  T.  Sloane,  Esq 

Empire  Building  

Manhattan  Life  Insurance  Building 

Standard  Oil  Building 

New  Altman  Stores 

Mutual  Reserve  Fund  Building 

Spingler  Building  

Netherlands  Hotel  

Scott  & Bowne  Building  

R.  H.  Macy  & Co 

Lakewood  Hotel  

Presbyterian  Building  

Johnston  Building  

National  Bank  of  Commerce 

United  States  Trust  Co 

New  York  Clearing  House 

Onondaga  County  Savings  Bank,  Syracuse,  N.  Y. . . 

St.  Luke’s  Hospital  

Singer  Building  

D.  O.  Mills  Model  Hotel 

Post  Graduate  Medical  School  and  Hospital 

Carnegie  Music  Hall 

Kuhn,  Loeb  & Co 

Fulton  Building  

Eagle  Building  

Metropolitan  Life  Insurance  Building 

Fire  Department  Headquarters 

New  York  Commercial  Buildings 

John  Wanamaker’s  


Richard  M.  Hunt,  Architect 

Richard  M.  Hunt,  Architect 

Richard  M.  Hunt,  Architect 

George  B.  Post,  Architect 

George  B.  Post,  Architect 

George  B.  Post,  Architect 

McKim,  Mead  & White,  Architects 
McKim,  Mead  & White,  Architects 
McKim,  Mead  & White,  Architects 
....Cyrus  L.  W.  Eidlitz,  Architect 
. ..  .Cyrus  L.  W.  Eidlitz,  Architect 
....Cyrus  L.  W.  Eidlitz,  Architect 

R.  H.  Robertson,  Architect 

R.  H.  Robertson,  Architect 

R.  H.  Robertson,  Architect 

.Henry  J.  Hardenbergh,  Architect 
.Henry  J.  Hardenbergh,  Architect 
. Henry  J.  Hardenbergh,  Architect 

Cady,  Berg  & See,  Architects 

Cady,  Berg  & See,  Architects 

Cady,  Berg  & See,  Architects 

Chas.  C.  Haight,  Architect 

Chas.  C.  Haight,  Architect 

Chas.  C.  Haight,  Architect 

Clinton  & Russell,  Architects 

Clinton  & Russell,  Architects 

Clinton  & Russell,  Architects 

. . .Carrere  & Hastings,  Architects 
. ..Carrere  & Hastings,  Architects 
. . .Carrere  & Hastings,  Architects 
..Kimball  & Thompson,  Architects 
. .Kimball  & Thompson,  Architects 
..Kimball  & Thompson,  Architects 
. .Kimball  & Thompson,  Architects 

. . .W.  H.  Hume  & Son,  Architects 

. . . W.  H.  Hume  & Son,  Architects 

. . .W.  H.  Hume  & Son,  Architects 

. . . Schickel  & Ditmars,  Architects 
...Schickel  & Ditmars,  Architects 
...Schickel  & Ditmars,  Architects 

James  B.  Baker,  Architect 

James  B.  Baker,  Architect 

James  B.  Baker,  Architect 

R.  W.  Gibson,  Architect 

R.  W.  Gibson,  Architect 

R.  W.  Gibson,  Architect 

Ernest  Flagg,  Architect 

Ernest  Flagg,  Architect 

Ernest  Flagg,  Architect 

W.  B.  Tuthill,  Architect 

W.  B.  Tuthill,  Architect 

. . . De  Lemos  & Cordes,  Architects 
. . . De  Lemos  & Cordes,  Architects 
. . .De  Lemos  & Cordes,  Architects 
. . . . N.  Le  Brun  & Son,  Architects 
. . . . N.  Le  Brun  & Son,  Architects 

Robert  Maynicke,  Architect 

Robert  Maynicke,  Architect 


THE  ARCHITECTURAL  RECORD. 


STAIRCASE  IN  GEORGIAN  COURT. 

PETER  THEIS’  SO^S, 

Decorative  and  Constructive 
Workers  of 

Marble,  Onyx  AND  Stone. 


Office,  FIRST  AVENUE  AND  37th  STREET, 

NEW  YORK. 

Steam  Mill,  Works  and  Yard. 

636  to  644  FIRST  AVENUE.  ^ Telephone, 

400  to  412  EAST  37th  STREET.  No.  2708  38th  Street. 


03 


THE  ARCHITECTURAL  RECORD. 


PARQUET  FLOORS. 


HALL  IN  GEORGIAN  COURT,  SHOWING  PARQUET  FLOOR. 


G.  W.  KOCH  & SON, 

Established  1857. 

MANUFACTURERS, 

SHOW  ROOMS  AND  OFFICES,  467  Fifth  Avenue,  (Opposite  Old  Reservoir). 


Factory,  West  Thirty-fourth  Street  and  Seventh  Avenue. 


The  Parquet  Floors  throughout  Georgian  Court  were  laid  by  this  firm. 

We  are  higher  in  price,  but  where  artistic  designs,  rare  and  carefully  selected  woods,  and  substan 
tial  construction  are  appreciated,  we  lead  them  all.  We  have  no  catalogue,  but 
submit  designs  to  harmonize  with  style  and  finish  of  rooms. 


Mr.  Cornelius  Vanderbilt Fifth  Ave.,  N. 

“ Collis  P.  Huntington Fifth  Ave.,  N. 

“ George  J.  Gould Lakewood,  N.  j. 

“ John  Jacob  Astor Fifth  Ave.,  N.  Y. 

“ George  W.  Vanderbilt Biltmore,  N.  C. 

“ D.  O.  Mills Fifth  Ave.,  N.  Y. 

“ Elbridge  T.  Gerry Fifth  Ave.,  N.  Y. 

“ Jay  Gould Fifth  Ave.,  N.  Y. 

“ Henry  Havemeyer Fifth  Ave.,  N.  Y. 

“ H.  O.  Armour Fifth  Ave.,  N.  Y. 

“ C.  A.  Dana Madison  Ave.,  N.  Y. 

“ H.  G.  Marquand Madison  Ave.,  N.  Y. 

“ Joseph  W.  Drexe] Madison  Ave.,  N.  Y. 

“ Andrew  Carnegie 51st  St.,  N.  Y. 

“ C.  B.  Alexander 58th  St.,  N.  Y. 

“ Geo.  I.  Seney Brooklyn,  N.  Y. 

“ S.  D.  Babcock Riverdale,  N.  Y. 

“ Whitelaw  Reid Ophir  Farm,  N.  Y. 

“ C.  Oliver  Iselin New  Rochelle,  N.  Y. 

“ R.  G.  Dun Narragansett  Pier,  R.  I. 

“ H.  A.  C.  Taylor Newport,  R.  I. 

" W.  K.  Vanderbilt Newport,  R.  I. 

University  Club Fifth  Ave.,  N.  Y. 


Mr.  Wm.  C.  Whitney Fifth  Ave.,  N.  Y. 

“ W.  D.  Sloane Fifth  Ave.,  N.  Y. 

“ Thos.  A.  Edison Orange,  N.  J. 

“ Thos.  Scott Philadelphia,  Pa. 

“ H.  C.  Frick Pittsburg,  Pa. 

“ C.  B.  Kountz Denver,  Colo. 

“ Potter  Palmer Chicago,  111. 

“ Geo.  M.  Pullman Chicago.  111. 

“ H.  T.  Howard New  Orleans,  La. 

“ John  L.  Mitchell Milwaukee,  Wls. 

“ P.  D.  Armour Chicago,  111. 

“ Henry  B.  Hyde 40th  St.,  N.  Y. 

“ G.  P.  Morosini Riverdale,  N.  Y. 

“ A.  A.  Low Brooklyn,  N.  Y. 

“ W.  W.  Law Yonkers,  N.  Y. 

“ F.  C.  Pillsbury Minneapolis,  Minn. 

Mrs.  Zachary  Chandler Washington,  D.  C. 

Ex-Judge  Hilton Saratoga,  N.  Y. 

Col.  W.  A.  Roebling Trenton,  N.  J. 

'■  E.  A.  McAlpin Sing  Sing,  N.  Y. 

“ DeLaneey  Kane New  Rochelle,  N.  Y. 

Hon.  Levi  P.  Morton Fifth  Ave.,  N.  Y. 

Waldorf-Astoria Fifth  Ave.,  N.  Y. 


The  following  is  but  a partial  list  of  persons  .n  whose  distinguished  residences  we  have  laid  floors. 

Y. 

Y. 


64 


THE  ARCHITECTURAL  RECORD. 


has  noted  the  unsightly  cracks  that  develop  after  a few  years 
in  the  mosaic,  tile,  and  granolithic  floors  of  many  of  our  public 
buildings.  Upon  examination  it  is  found  that  the  cracks  occur  at 
regular  intervals  over  the  iron  beams. 

What  is  the  cause  ? 

The  arches  have  settled.  Floor  arches  consisting  of  a number 
of  assembled  parts  with  more  or  less  imperfect  joints,  whether  flat 
or  segmental  in  form,  invariably  settle.  This  causes  cracks, 
not  only  in  the  expensive  floor  finish,  but  also  in  the  plastered 
ceilings. 


A segmental  concrete  arch  as  here  shown  never  settles. 

Why? 

Because  the  concrete  when  set  becomes  a monolith  or  single 
piece  The  concrete  arch  as  erected  by  this  Company  has,  besides, 
considerable  elasticity. 

The  Roebling  Construction  Co., 

TRENTON,  N.  J. 


NEW  YORK.  PHILADELPHIA.  CHICAGO.  ST.  LOUIS. 
CLEVELAND.  SAN  FRANCISCO. 


THE  ARCHITECTURAL  RECORD . 


Caryl  Coleman 

President 


Russell  Sturgis  Foot 

Vice-President 


Ofmrrf)  <s>las0  anb  Decorating  Qompanp 

j^mmcan  CQosatr  ©lass  GDCtniiotos 
6{nglt0j  Btamrt  ©lass  fiatmlioxus 
Gfcdesiasttcal  Bumisfitngs 

C(imrci)  Decorations 

3, 5,  ano  7 C0Ccat  29ti)St 

Xltxu  Yorfe 


Frank  Cocnen 

Treasurer 


Edward  P.  Sperry 

Secretary 


THE  ARCHITECTURAL  RECORD. 


AReHTlEc/s  JiFSI^NS  <AlfHr\)tLY  EXECOJEA 


StE£IALJ>ESI(i«SfliRNISHED  sf  BT&n\Ea 


THE  ARCHITECTURAL  RECORD. 


TO  THE  ARCHITECT, 

BUILDER  and  OWNER 


BEFORE  DECIDING  UPON  YOUR  INTERIOR  FINISH, 
CONSIDER  THE  ADVANTAGES  OF 
BEAUTY,  IMPROVEMENT  WITH 


MAHOGANY. 


AGE  -,  INCREASED  VALUE  TO  PROPERTY  ; BEARING 
IN  MIND  THE  EXTRA  COST  IS  ONLY  IN  THE  RAW 


MATERIAL.  THE 
COST,  IS  THE 


LABOR 


A LARGE  PART  OF  TIIE 
SAME  IN  EITHER  CASE. 


RED  D Fip  A D FOR  LINING  CLOSETS.  ETC. 
ALL  KINDS  OF  VENEERS  AND  CABINET  WOODS. 


WM.  E.  UPTEGROVE  & BRO.,  m^hogany_mills 

Foot  of  East  lOtlt  arid  lltT\  Streets,  New  YorK 


08 


THE  ARCHITECTURAL  RECORD. 


Dallmeyer  Lenses.... 

STAND  ALONE  FOR  QUALITY  OF  GLASS 
PERFECTION  OF  FINISH 
SOFTNESS,  DEPTH, 

RAPIDITY,  DELICACY 

THE  NEW  DALLMEYER  STIGMATIC  LENS 

SERIES  II,  File 

jS  SUITABLE  to  every  class  of  photo= 
graphy  from  portraiture  to  wide  angle 
work.  It  is,  with  the  exception  of  the 
Dallmeyer  Stigmatic  Portrait  Lens,  Series 
I,  the  quickest  stigmatic  lens  made. 

Each  of  the  two  combinations  may  be 
used  alone,  thus  making  three  lenses  of 
one— a long  focus,  medium,  and  wide  angle. 

The  greater  portion  of  the  interior  views  in  this  number  are 
made  with  the  Dallmeyer  Lens. 

Photographic  Apparatus  and  Materials  of  all  Kinds 

For  the  Professional,  Amateur  and  Scientist,  including 
Cameras,  Lenses,  Shutters,  Tripods,  Developers,  Chem  = 
icals,  etc.  Photographic  Text=books,  Dry  Plates,  Amer= 
ican  Aristotype  Papers,  Aristotype  Single  Toner,  Amer= 
ican  Gelatine  Paper,  American  Cartridge  Films,  and  all 
requisites  for  the  photographic  worker  in  every  field 
of  the  art  ....  

Write  for  full  catalogue 

E.  & H.  T.  ANTHONY  & CO. 

501  Broadway,  New  York 

45,  47  ami  40  E.  Randolph  Street,  Chicago,  ill. 

Fifty=five  Years 

Established  in  this  Line  of  Business 


THE  ARCHITECTURAL  RECORD. 


THE  J. 


L.  MOTT  IRON  WORKS, 


84-90  BEEKMAN  STREET,  NEW  YORK. 


NEW  YORK:  PHILADELPHIA: 

103  FIFTH  AVENUE.  18-24  S.  SEVENTH  ST. 


BOSTON : 

332-334  BOYLSTON  ST. 


Plate  2005-R. 

BATH  ROOM  — BARONIAL 


Copyright,  1809,  by  the  J.  L.  Mott  Iron  Works. 


For  full  description,  see  circular,  which  may  be  had  on  application. 


70 


THE  ARCHITECTURAL  RECORD. 


PERTH  AMBOY  TERRA-COTTA  CO. 


Of  Perth  Amboy,  N.  J. 


New  York  office,  160  Fifth  Avenue. 


Furnished  the  Architectural  Terra-Cotta 
for  the  following  buildings,  designed  by 
Bruce  Price,  Architect 


ST.  JAMES  BUILDING New  York  City. 

COLONIAL  HISTORICAL  SOCIETY New  Haven,  Conn. 

BLOCK  OF  HOUSES 138th  to  139th  Streets. 

RESIDENCE  OF  ADDISON  CAMMACK,  Esq Tuxedo  Park,  N.  Y. 

RESIDENCE  OF  GEORGE  J.  GOULD,  Esq Lakewood,  N.  J. 


ARCHITECTS  AND  OWNERS 

who  are  willing  to  pay  a trifle  more  than  the  ordinary  trade  price 
for  strictly  first-class  front  bricks  of  superior  color  and  texture, 
should  send  for  prices  and  samples  of  the  - 
CREAM  WHITE  AND  SILVER  GRAY  BRICKS  MANUFACTURED  BY 

THE  POWHATAN  CLAY  MFG.  CO.,  023  Broadway, 

These  bricks  have  been  specified  by  Messrs.  Bruce  Price, 
Clinton  & Russell,  LeBrun  & Sons,  Carrere  & Hastings 
and  other  representative  Architects  of  New  York. 

Among  the  numerous  buildings  built  of  these  brick  may  be 
mentioned  The  Chesebrongdi  Building,  one  block  in  extent  ; The 
Victoria  Music  Hall,  Stores  and  Lofts,  5 fronts,  580-590  Broadway; 
The  Livingston,  86th  St.,  & Central  Park  West,  and  The  Powhatan 
and  Tecumseh,  34th  St.,  & 7th  Ave.,  and  a hundred  other  first-class 
buildings.  - 


71 


THE  ARCHITECTURAL  RECORD. 


The  Fawcett  Ventilated  Fire  Proof  Building  Company 

Limited 

Rooms,  448,  449-450  “Philadelphia  Bourse.” 

Patented  -England,  Belgium.  France.  United  States. 


long  itu  din  a l.  Section  through 


L.  INTEL  *N  Q CoMCRLTt 


Longitudinal  Section 
THROUGH  CONCRETE 


.v  -A.  : V\ ; T ' S •.  ;V  '*v  ’•  ’ A ' : X.*  ’• ' 

Transverse  Section  through  Lintel 
and  Concrete  Filling; 


Chicago  O^ice  Pittsburgh  Office 


Lintels  with  Concrete  Rimoveo 


con  c r ETiN  c 

Boston  office 


23  Marine  BUIldinc 
Corner  Lake  *•  Lasalxjt  SIS 
S M-  Randolph  AGENT. 


Carnegie  Building 
5>«  W-  Derm irr-  Acent. 


1(j6  Devonshire  Street 
Room  49  , 

W-D. Lombard.  Agent 


HITCHINGS  & CO. 

ESTABLISHED  FIFTY  YEARS. 

Horticultural  Architects  and  Builders 

AND  LARGEST  MANUFACTURERS  OF 


GREENHOUSE  HEATING  AND  VENTILATING  APPARATUS. 


The  Highest  Awards  received  at  the  World’s  Fair  for  Horticultural  Architecture,  Greenhouse 
Construction  and  Heating  Apparatus. 

Conservatories,  Greenhouses,  Palm  Houses,  etc.,  erected  complete 
with  our  patent  Iron  Frame  Construction. 

Send  four  tents  postage  for  illustrated  catalogues . 

233  MERCER  ST.,  NEW  YORK. 


THE  ARCHITECTURAL  RECORD. 


1 


AANTEt  /TAKERS 

BRADLEY  6 CURRIER  C9 


./SfrASHIONS  change ; but 
mantel,  thoroughly  artistic, 
and  perfect  in  relation  to  its  sur- 
roundings, is  ever  a satisfaction. 

Such,  and  only  such  it  is  our 
aim  to  build,  possessing  as  much 
individuality  as  may  be  desired; 
moderate  in  price. 

Our  show-room  is  a study  in 
styles.  If  you  cannot  call,  write. 

BRADLEY  & CURRIER  CO., 
119  and  121  West  23d  Street,  New  York. 


^H-Jackso>  8c(o- 


860  Broadway,  uT8°rs?re£te’  New  York  City. 


MANTELS 


Designers  and  Makers  of 


Open  Fireplaces, 
Grates  and  Fenders. 


FILES, 


MARBLES, 


MOSAICS. 


ARTISTIC 

WROUGHT  METAL  WORK 
FOR  INTERIORS,  ETC. 


THE  ARCHITECTURAL  RECORD. 


CHARLES  T.  HARRIS,  Lessee. 


CELADON  TERRA-COTTA  CO.,  Ltd., 


^Manufacturer  of 

artistic  IRoofing  Giles. 


Eastern  Office  : Western  Office  : 

1123  Presbyterian  Building,  1001  and  1002  Marquette  Building, 

NEW  YORK,  N.  Y.  CHICAGO,  ILL. 


• • 


These  Tiles  are 
made  from  a 
superior  quality 
of  clay, 
formed  under 
heavy  pressure 
and  burned 
to  complete 
vitrification,  so 
that  they  are 
non-absorbent, 
have  great 
tensile  strength 
and  are 
mechanically 
accurate. 


• • 


THIRD  PRESBYTERIAN  CHURCH,  CHESTER,  PA. 


THOMAS  J.  BYRNE, 

PLUMBING 
and  GASFITTING 

Consulting  Engineer  for 
Sanitary  and  Hydraulic  Works. 


377  FOU 

Telephone,  695  18th  St. 


RTH  AVENUE, 

NEW  YORK. 


REFERENCES. 


EMPIRE  BUILDING  

B.  ALTMAN  & CO.'S  BUILDING 

WALDORF-ASTORIA  HOTEL  

MANHATTAN  HOTEL  

HAVEMEYER  BUILDING  

MILLS’  BUILDING 

MADISON  SQUARE  GARDEN 

N.  Y.  UNIV.  LIBRARY  AND  MUSEUM  BUILDINGS 

CONSTABLE  BUILDING  

STERN  BROTHERS’  BUILDING  

HOTEL  RENAISSANCE  

CARNEGIE  MUSIC  HALL  

PRESBYTERIAN  HOSPITAL  

YOUNG  MEN’S  CHRISTIAN  ASSOCIATION,  filth  Street,  N.  Y.  City 


...KIMBALL  & THOMPSON 
...KIMBALL  & THOMPSON 
HENRY  J.  HARDENBERGH 
HENRY  J.  HARDENBERGH 

GEORGE  B.  POST 

GEORGE  B.  POST 

..McKIM,  MEAD  & WHITE 
...McKIM,  MEAD  & WHITE 

SCHICKEL  & DITMARS 

SCHICKEL  & DITMARS 

. .HOWARD  & CAULDWELL 

WILLIAM  B.  TUTHILL 

CADY,  BERG  & SEE 

. ..  .PARISH  & SCHROEDER 


74 


THE  ARCHITECTURAL  RECORD. 


RESIDENCE  AT  MILTON,  MASS.  Andrews,  Jaques  & Ra.ntoul,  Architects. 

Stained  with 

Cabot's  Creosote  Shingle  Stains. 

The  Original  and  Standard  Shingle  Stains,  and  the  s'andard  of  shingle-stain  excellence, 
distinguishable  for  the  soft  depth  and  richness  of  their  colors,  their 
durability,  and  wood-preserving  qualities. 

“Wood  treated  with  Creosote  is  not  subject  to  dry-rot  or  other  decay.” — Century  Dictionary. 

Samples,  circulars  and  litho-water-color  chart  of  color  combinations,  sent  on  request. 

SAMUEL  CABOT,  Sole  Manufacturer, 

12^Wooster  St.,  New  York. 

215  Dearborn  st.,  Chicago.  70  Kilby  Street,  Boston,  Mass* 

421  Market  St.,  San  Francisco. 


A SILVER  GRAY  STAIN, 


FRANK  WALLIS,  .Architect. 


Gives  a beautiful  weather- 
beaten appearance  to  a 
house  in  a short  time 


^ 

Dexter  B r other  s' 
English 
Shingle  Stains 

are  perfect 
wood  preservatives. 

^ ^ ^ 

Send  for  Samples , 

Color  Plates,  etc.,  to 


DEXTER  BROTHERS, 

55  and  57  Broad  Street,  - Boston,  Mass. 


THE  ARCHITECTURAL  RECORD. 


BRAMHALL  DEANE  CO., 

FRENCH  COOKING  RANGES, 

AND 

COOKING  APPARATUS 

OF  EVERY  DESCRIPTION. 

262-266  WATER  STREET, 

ROYAL  E.  DEANE,  Pres’t. 

GEORGE  G.  BROOKS,  Treas.  NEW  YORK. 


White  brick  & Terra  Cotta  Co., 

156  Fifth  Avenue,  New  York 

ARCHITECTURAL  TERRA  COTTA  IN  ALL  COLORS. 

Superior  Quality  of  SOLID  WHI  TE  TERRA  COTTA, 

Which  wijl  not  turn  green  or  yellow. 

Designs  faithfully  reproduced.  All  work  vitrified  to  withstand  the  elements. 


J DALL 

BUILDER 

48  West  22d  Street  NEW  YORK 

Contracts  performed  during  1898  for  the  following  Architects  : 

DEHLI  & HOWARD 
CHARLES  W ROMEYN 
WILLIAM  E.  STONE 
W.  R.  EMERSON,  Boston 

JOHN  K.  TURTON,  Associate 


CARRERE  & HASTINGS 
BRUCE  PRICE 
CLINTON  & RUSSELL 
A,  C.  JACKSON 


Established  1861. 

OAKLEY  & KEATING 

40  Cortlandt  Street,  New  York  City. 

LAUNDRY  MACHINERY. 


St.  Joseph’s  Seminary,  Dunwoodie,  X.  Y. 
Seton  Hospital,  New  York  City. 

Metropolitan  Club,  New  York  City. 

Plaza  Hotel,  New  York  City. 

The  Dakota,  New  York  City. 

Delmonieo's,  Beaver  St.,  New  York  City. 

N.  Y.  Catholic  Protectory,  Westchester,  X.  Y. 
Hotel  Normandie,  New  York  City. 

Montifiore  Home,  New  York  City. 

Halcyon  Hall,  Millbrook,  N.  Y. 

Inst,  of  Mercy,  Tarrytown,  N.  Y. 

St.  Benedict’s  Home,  Rye,  N.  Y. 

Hebrew  Sheltering  Guardian  Society. 


Architects. 
Schickel  & Ditmars. 
Schickel  & Ditmars. 
McKim,  Mead  & White. 
McKim,  Mead  & White. 
Henry  J.  Hardenbergh. 

James  Brown  Lord. 
Wm.  H.  Hume  & Son. 
Wm.  H.  Hume  & Son. 
Buchman  & Deisler. 
James  E.  Ware. 
Geo.  H.  Streeton. 
Little  & O’Connor. 
John  H.  Duncan 


THE  ARCHITECTURAL  RECORD. 


The  Cutler  Patent  Mailing  System, 

or  U.  S.  MAIL  CHUTE. 

PROVIDES  the  only  method  of  mailing  letters  in  any  story 
of  office  buildings,  hotels  and  apartment  houses. 

Installed  in  co-operation  with  the  Postal  authorities,  in  styles  to  suit  the 
surroundings  and  at  prices  varying  with  the  requirements.  For  an  example 
of  the  finest  special  work  we  refer  to  that  in  the  Astoria  Hotel,  New  Y ork. 
Estimates  of  cost,  etc.,  promptly  sent,  on  request,  by  the  Sole  Makers, 

The  Cutler  Mfg.  company,  cutler  building, 

ROCHESTER,  N.  Y. 

•USED  IN  IOO  CITIES,  IN  ABOUT  1200  BLDGS.  USED  IN  MORE  THAN  150  NEW  YORK  BLDGS. 

PATENTED  AND  AUTHORIZED. 

R.  IYI.  WILSON’S 

Solid  Copper  Bath-Tub 

No  Iron  or  Steel  to  Rust. 

No  Enamel  to  Chip. 

Write  for  Circulars.  Factory,  Rome,  N.Y. 


Also  Manufacturer  of  Copper  Range  Boilers,  Copper-lined 
Tubs,  Clostt  Seats  and  Tanks  and  Brass  Work. 

New  York  Office,  92  Walker  Street. 


WILLIAM  GRAY  & SONS, 

CUT  STONE  CONTRACTORS. 


Drexel  Building,  . . Philadelphia 

Provident  Bank, 

Independence  Bank.  . 

Bank  of  North  America,  “ 

Penna.  Co.  ins.  on  Lives 

and  G.  A..  . . “ 

Chestnut  St.  Nat.  Bank,  “ 


Union  Trust  Co.,  . . Philadelphia 

Penn.  Mutual  Ins.  Co., 

Hale  Building, 

Girard  Trust  Co.,  . “ 

Broad  St.  Station,  P.  R.  R.,  “ 

Betz  Building,  . . “ 


Lorraine  Hotel,  . . Philadelphia 

U.  S.  Post  Office,  . . Scranton 

U.  S.  Post  Office.  . . Harriburg 

Mass.  State  House,  . . . Boston 

Metropolitan  Life  Ins.  Co.,  . N.  Y 
New  York  Clearing  House,  “ 


THIRTIETH  STREET,  below  Walnut,  PHILADELPHIA. 

Branch  Office,  Lee  Marble  Quarries,  Lee,  Mass, 


T™  FOSKETT  & BISHOP  CO. 


MANUFACTURERS  OF 

GJP  I O BOSTON 

. %J$&  Vj®  It.  HEATERS 

CONTRACTORS  FOR 

Steam  and  Hot  Water  Heating  Apparatus. 

NEW  HAVEN,  CONN. 


II.  S.  Armstrong,  Manager, 


62  Grand  St.,  N.  Y. 


THE  ARCHITECTURAL  RECORD 


Drawings 
Made 
With 

HIGGINS’ 
AMERICAN^ 
DRAWING  INKS 

(Blacks  and  Colors) 

Have  an  excellence  peculiarly  their  own. 
The  best  results  are  only  produced  by  the 
best  methods  and  means  - the  best  results 
in  Drafting',  both  mechanical  and  artistic, 
can  only  be  attained  by  using  the  best 
Drawing  Inks  — 

HIGGINS’  DRAWING  INKS. 

(Send  for  color  card  showing  actual  inks  ) 

At  Dealers  in  Artists’  Materials  and 
Stationery. 

Bottles  prepaid  by  mail,  r5  cents  each,  or 
circulars  frte  from 

Chas.  M.  Higgins  & Co.,  Mfrs. 

168  Eighth  St.,  Brooklyn,  N.  Y. , U S.  A 
London  Office,  106  Charing  Cross  Road. 


NO  RIVETS. 


The  Brown 

Seamless 


Drawn 

Copper 

Range 


Boiler 


NO  LEAK.. 


Guarantee  Working 
Pressure, 

Regular  Boiler.  - isolbs. 
Extra-Heavy  Boiler,  zoolbs. 

Will  Not  Collapse. 

Thoroughly  and  Heavily 
Tinned  on  the  Inside. 

J- 

MANUFACTURED  BY 

RANDOLPH  k CLOWES} 

WATERBURY, 

CONN. 


Descriptive  Booklet  Sent 
Free.  Send  for  it. 


1J 

cpARE 
THE  BEST. 

ft 


“PRACTICALLY 
UNBREAKABLE” 

SAYS  THE  WORLD’S  FAIR  AWARD. 


MADE  OF  WROUGHT  STEEL, 
BR9NZE QR  BRASS -ALL  FINISHES. 

FOR  SALE  BY  DEALERS  IN 

.BUILDERS  HARDWARE. 


STANLEY’S- 


BUTTS 


Cannot 

Wear 

Down. 

Require 

No 

Oiling. 


Artistic  booklet  on  application. 


The  Stanley  Works, 

New  Britain,  Conn. 

79  Chambers  St.,  New  York. 


78 


THE  ARCHITECTURAL  RECORD  . 


Daylight  at  Night 


is  most 
nearly 
approached 
by 

Acetylene 

Gas 

both 

Cost 


Any  Capacity, 
from  $ 1 5 up. 


Generators  are 
suitable  for 
lighting  buildings 
of  any  description 
anywhere. 


Splendid  Opportunity  for  Live  Agents  Everywhere. 

Write  for  Information  and 
Mention  ARCHITECTURAL  RECORD. 

J-  <£> 

J.B.  COLT  & CO.,  Dept  ! 

3 to  7 West  29th  St.,  New  York. 


OTRI/IIS, 

te* PICTURE-  FR/A\ES 

FwsMmmsC®. 

c 37  B-ST^N. 


Established  1850. 


Oh  Furnaces, 

Steam  ant!  Hot  Water 
Heaters  or  Ranges, 

IS  EVIDENCE  OF 

.....SUPERIOR  MERIT. 


USED  EXTENSIVELY  BY 
ARCHITECTS  AND  THE  TRADE. 


SEND  FOR  CATALOGUE. 


Hrt  Heather  Morh 

Of  Spanish,  Flemish,  Moresque 
and  Early  Italian  Origin,?4,?4,?4,?4 
Manufacturers  of  Solid  Leather 
Screens  and  Wall  Hangings..?4,?4 
Established  1871  ,.*. *.*.*.*.*.*.* 


“THATCHER” 


Thatcher  Furnace  Company, 

240  Water  Street,  New  York. 


Charles  R.  Yandell  & Co. 

140  Fifth  Avenue, 

New  York, 


THE  ARCHITECTURAL  RECORD. 


ARCHITECTS  AND  BUILDERS, 


When  making  Contracts,  will  not  forget  that 


12,000,000  Barrels 


4 4 


OFFM  AN’’ 

~ CEMENT 


Have  been  used  on  important  works  throughout  the  United  States. 

No  other  Cement  Company 
can  show  such  a Record. 


LAWRENCE  CEMENT  CO., 

Sales  Office,  No.  \ Broadway,  New  York. 


4 4 


RAGON” 


AND  OTHER  FIRST-CLASS 
BRANDS  OF 


PfORTLAND  CEMENT 

Made  by 


The  Lawrence  Cement  Co.  of  Pa. 


New  Works  at  SIEGFRIED,  PA. 


80 


THE  ARCHITECTURAL  RECORD , 


Don’t  Cut  Up 

a lot  of  galvanized  iron  till  you  have  tested  it.  Bend 
it  sharp,  to  see  if  it  breaks  or  cracks  or  weakens; 
hammer  it ; drive  nails  through  it ; try  it  according  to 
what  you  are  going  to  use  it  for.  Better  lay  aside 
a poor  iron  than  throw  away  labor  on  it. 

Still  better-try  it  before  you  buy  it.  Not  every 
make  is  guaranteed.  You  may  save  freight  and  cartage 
and  handling  besides. 

Apollo  is  flat  and  soft,  but  test  it,  as  if  it  were 
not  guaranteed  It  is  guaranteed,  however.  Return  all 
faulty  sheets,  whether  whole  or  not  We  are  more 
anxious  than  you  can  be  to  find  out  .faults  in  it.  That 
is  the  only  way  to  stop  them. 

Apollo  Iron  and  Steel  Company 

Pittsburgh  Pennsylvania 


BEDFORD  STONE 


'TrHE  BEDFORD  QUARRIES  COMPANY  of  BEDFORD, 
INDIANA,  arc  producers  of  Buff  and  Blue  Oolitic  Limestone 
from  the  celebrated  HOOSIER  and  BUFF  RIDGE  Quarries,  which 
they  are  prepared  to  supply  either  in  blocks  or  sawed  as  required. 
The  MUTUAL  RESERVE  FUND,  CONSTABLE, 
HOTEL  MAJESTIC,  PRESBYTERIAN,  MANHATTAN 
HOTEL  and  other  notable  buildings  in  New  York  are  built  of 
stone  from  these  Quarries,  which  have  a capacity  many  times 
larger  than  any  others  in  the  Oolitic  district. 

An  illustrated  pamphlet  describing  the  Quarries,  samples  of 
the  stone  and  a list  of  many  of  the  important  buildings  constructed 
from  it,  will  be  sent  on  application. 

CHICAGO  OFFICE;  185  Dearborn  Street. 

NEW  YORK  OFFICE;  X Madison  Ave. 


Edward ICooper,  Pres't,  [NcwYoffc. 
Edwin  F.  Bedell,  Sec  y,  > 


Trenton  i | & Hewitt,  Treas. 

' Joseph  Stokes,  Sop't. 


NEW  JERSEY  STEEL  & IRON  GO., 


TRENTON,  N,  J. 


STRUCTURAL  IRON  AND  STEEL. 


Engineers  and  Manufacturers  of  and  Contractor*  for 

BUILDINGS,  ROOFS,  BRIDGES  AND  OTHER 
AND  STEEL  STRUCTURES. 


COOPER,  HEWITT  & CO., 

17  BURLING  SLIP,  NEW  YORK, 


PRINTED  BY  RECORD  AND  GUIDE  PRESS,  227  WILLIAM  ST.,  N.  Y. 


